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ES and JEROME H. EDDY 




SAMUEL FRENCH, 28-30 West 38th St., New York 



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The 
tillage Postmaster 

A Domestic Drama in Four Acts 



By 
ALICE E. IVES and JEROME H. EDDY 



Copyright, 1894, by Alice E. Ives 



CAUTION.— Amateurs and Professionals are hereby warned that " The 
Village Postmaster, 1 ' being fully protected under the copyright lawsof 
the United States, is subject to royalty, and any one presenting the 
play without the consent of the author or their authorized agent, will 
be liable to the penalties by law provided. For terms for ama- 
teur productions apply to Samuel French, 28-30 West 38th Street, 
New York. 

All rights reserved 



New York 
SAMUEL FRENCH 

PUBLISHER 

28-30 WEST 38th STREET 



London 

SAMUEL FRENCH, Ltd. 

26 Southampton St. 

STRAND 






The Village Postmaster 



Place. — Bridgewater, a New Hampshire village. 
Time. — 1852. 

Act I — Autumn. The General Training. 
Act II — Winter. The donation party at the minister's. 
Act III — Summer. Threshing day on the farm. 
Act IV — Spring. The wedding in the village church. 

Note. — Up to about 1853 in New England, and in many 
of the Northern states the law compelled every able-bodied 
citizen to assemble spring and autumn for a drill in the 
manual of arms, there being at this time no regular state 
militia. The event was a holiday of considerable importance 
to the villagers, and was called " General Training Day." 
The action of " The Village Postmaster " begins on this day* 



JWerrtf from 

C *Pyr/rb* 



CHARACTERS 

Seth Huggins. — About sixty years old, the New England 
farmer type, tall, strong, and sturdy. Inclined to be dog- 
matic and consequential as he is the most important man in 
the village, proprietor of the general supply store, postmaster, 
and " pillar " of the Baptist Church. " Bosses " every one 
but his sister Samantha who reduces him to a state of abject 
submission when the occasion requires it. At heart he is 
kindly, with high standards of honor. 

John Harper. — In his twenties, modest, prepossessing 
and manly. Educated in speech and manner. 

Ben Deane. — A trifle older than Harper, less educated in 
speech, and more businesslike in manner. Carries himself 
well, and is always carefully dressed. 

Ebenezer Todd. — Between fifty and sixty, with the rus- 
tic's stoop shoulders and shambling gait. Has a realizing 
sense of his . importance as sexton of the church, and a con- 
suming ambition to win the hand of Samantha. 

Charles Gibbs. — About forty-five, quiet, dignified, the 
usual type of the country minister. 

Caleb Springer. — About sixty-five, an old farmer, stoop- 
shouldered, but still agile enough to "square off" with Eb 
when there comes up the question of their rivalry for the 
affections of Samantha. Inclined to be rather querulous in 
manner, but harmless and well meaning. 

Thomas Huggins. — A boy about fourteen years old who 
spends most of his time plotting mischief, and making 
" Lowizy's " life a burden. 

Silas Toner. — A tall, gawky, raw-boned young farmer. 

Jim Pennel. — A young farmer of a different type from 
Toner. 



4 THE VILLAGE POSTMASTER 

Miranda Huggins. — A young girl under twenty, pretty, 
attractive, and speaking in an educated way. Her manner 
is sweet and modest as befitted the Puritan maid of the 
" fifties." 

Mary Barden. — A trifle older than Miranda, also pretty 
and attractive, but having a rather sad face. Her manner is 
quiet and subdued with every one except Ben Deane. Her 
speech is that of the New England rustic. 

Hattie Burley. — About twenty, high-spirited, gay, light- 
hearted, and being " well favored," inclined to flirt ; but 
underneath it all generous and kind-hearted. 

Samantha Huggins. — In her forties, which at this period 
branded the unmarried woman as an old maid. She is tall, 
bony of figure, and bustling in manner, firm and decided in 
speech. Even when quoting poetry she gets off the lines as 
though it were a business to be quickly dispatched. She 
accepts Ebenezer's love-making with a kind of pleased toler- 
ance, but never seems to make up her mind. 

Mrs. Gibbs. — A sweet-faced, motherly woman of about 
forty-five, to whom most of the young people of the village 
confide their joys and sorrows. She has the manner of the 
bustling housewife, but with always time to spare for a kind 
word or deed. 

" Lowizy." — About twelve years old, generally the target 
of Thomas's pranks, but able on occasions to retaliate with 
spirit. 

Letitia Bean. — A young village girl, speaking in the 
" down east " rural manner. 



COSTUMES 

The year 1852 was for women the extremely prim period 
of dress. Bodices were tightly fitted, much boned, and 
finished at the neck with a white turned-over collar, or opened 
in V shape over a dainty chemisette of embroidered mull. 
Sometimes small fichus were worn. The sleeves were bell- 
shaped with undersleeves gathered into a band about the 
wrist. Skirts were full and round, just escaping the ground, 
and gathered into the waist. It is suggested for stage pur- 
poses that they can be slightly gored at front and sides. No 
hoops were worn. Bonnets were of the cottage-shape with 
little " curtains " at the back, and were tied under the chin 
with ribbons not over four inches wide. The flowers were 
small and fine. Gloves had but one button. Wraps were 
shawls or mantillas. Shoes were side-lace or congress 
gaiters, or slippers with very low heels, tied about the ankles 
with ribbons. Stockings were always white. 

The hair was parted in the middle, taken down over the 
ears, sometimes puffed slightly and gathered into a knot at the 
back of the head, or the front hair was left to flow in ring- 
lets, the back always being coiled. High foreheads were the 
fashion. Little girls wore their hair tightly braided in two 
tails, or loose in curls. 

The dandy strapped his trousers over top boots, wore roll- 
ing velvet collars and cuffs on his frock coats which were 
much shorter than those now worn, and were fitted into the 
waist with considerable spring over the hips. The sack coat 
was long and loose-fitting. Dress shirts were ruffled, the 
pointed collar showing above a high stock generally of black 
satin. Waistcoats for dress occasions were often very fancy 
in pattern and of rich brocades and embroidered silks. The 
silk or beaver hat had a nearly straight brim and high crown 
something like the Parisian dress hat occasionally seen to-day. 
Felt hats had low, flat crowns and wide, straight brims. The 
hair was worn rather long. 

It is suggested that the colors of the women's costumes, 

5 



6 THE VILLAGE POSTMASTER 

which are given, be adhered to as far as possible, as the color 
scheme of the stage grouping was carefully planned by Miss 
Ives and found on the first production to be effective and 
harmonious. 

Seth Huggins. — Act I, Dark trousers, and waistcoat, 
" soft " shirt, and no coat. For the training scene, a Conti- 
nental uniform, blue with buff trimmings, cocked hat and old 
battered sword. Act II, A dark sack coat and dark trousers, 
contrasting color in waistcoat, black satin stock and pointed 
collar. Act III, Overalls, held up with galluses, checked 
shirt, wide, straw farm hat. Act IV, Blue dress coat with 
brass buttons, dark trousers, ruffled shin, black satin stock. 

John Harper. — Act I, Black or brown sack coat, light 
trousers, white shirt, flowing tie, felt hat, low crown with 
broad brim. Act II, Heavy overcoat and cloth or fur cap ; 
sack coat, dark trousers, white shirt, high stock and collar, 
contrasting waistcoat. Act III, Overalls, white soft shirt, 
flowing tie, wide-brimmed straw hat. Act IV, The dress of 
the fashionable city man of the period. A well-fitting frock 
coat with velvet collar and cuffs, trousers of dark gray or 
black, a handsome waistcoat of white or fancy flowered ma- 
terial. High black satin stock, ruffled shirt, and silk hat. A 
circular cloak or cape may be added if desired and thrown 
off before the last scene. With the cloak a felt hat is pref- 
erable to the silk one. 

Ben Deane. — Act I, Sack coat and trousers rather lighter 
in tone, white shirt, stock and contrasting waistcoat. Wide- 
brimmed felt hat. Act II, Dark frock coat, and trousers, 
fancy waistcoat, high stock, overcoat, and cap. Act III, 
Sack coat, lighter trousers, soft shirt, flowing tie, felt hat. 
Act IV, Frock coat and lighter trousers, white or fancy 
waistcoat, ruffled shirt, high stock, silk hat. The cut of 
clothes similar to Harper's, but more showy in color, and 
less elegant and refined. 

Ebenezer Todd. — Act I, Baggy old trousers held up by 
suspenders, faded colored shirt, dilapidated straw hat. For 
training scene a uniform of odds and ends, Continental coat 
and ordinary trousers, short and baggy, a private's cap, and 
old flint-lock musket. Act II, A very old-fashioned frock or 
dress coat, dark trousers, white shirt, and stock, seedy over- 



THE VILLAGE POSTMASTER 7 

coat and fur cap. Act III, Sack coat, light trousers, flowing 
tie, tall old silk hat, a palpable attempt to " dress up." Act 
IV, A long coat, evidently an overcoat, dark waistcoat, and 
lighter trousers, stock and high collar, old silk hat, carries 
lantern and keys. 

Charles Gibbs. — The black frock coat and trousers, black 
waistcoat and high stock of the ministers of this period. 

Caleb Springer. — Act I, Overalls held up by suspenders, 
old straw hat, dark soft shirt. Act II, Dark trousers and 
colored shirt. Second dress, dark trousers, white shirt, high 
stock, black sack coat. Replaces high boots with congress 
gaiters. Act IV, Dress coat, dark trousers, dark waistcoat, 
high stock, white shirt, old silk hat. 

Thomas Huggins. — Trousers held up by one suspender, 
colored shirt, straw hat. Boys at this period did not wear 
knee trousers. Act II, A short jacket, something like an 
Eton, then called a " round-about," trousers coming only to 
the ankle, and showing white stockings, and low shoes, white 
shirt, wide turned-over collar, and narrow ribbon tie. Act 
III, Overalls, coarse boots, checked shirt, and straw hat with 
part of the brim gone. Act IV, Very new looking clothes. 
Short jacket and trousers same cut as in Act II, white stock- 
ings and pumps. A cap with wide, flat topped, bell crown, 
and slanting visor. From left side top of crown hangs a 
tassel. 

Silas Toner.— Act I, Farm clothes, no coat. For train- 
ing scene a uniform made up of British scarlet coat, Conti- 
nental trousers, and a very high bearskin shako. Coat and 
trousers evidently meant for a much smaller man, both are 
tight, sleeves and trousers much too short. He carries an 
old musket. Act II, Sack coat, and dark trousers. Act 
III, Overalls and dark shirt, straw hat. Act IV, Sack coat, 
dark trousers, stock, and felt hat. Toner's clothes never fit, 
and always seem too small for him. 

Jim Pennel.— Act I, Farm clothes. Act II, Sack coat, 
light trousers, stock. Act III, Farm clothes. Act IV, May 
be same as Act II. 

Miranda Huggins.— Act I, Simple white lawn dress, and 
white ruffled sunbonnet. For training scene same dress 
with white straw bonnet. Act II, A changeable silk of 



8 THE VILLAGE POSTMASTEK 

two tones, blue and gold, trimmed around skirt with rows 
of black velvet ribbon. White fichu or chemisette, shawl 
and hood. Act III, A pink lawn dress. Act IV, White 
wedding dress of mull or satin with veil and orange blos- 
soms, and stiff round bouquet of orange blossoms, edged with 
white lace paper. Short white kid gloves, white slippers. 

Hattie Burley. — Act I, Pink and white lawn, straw 
bonnet trimmed with pink flowers. Act II, Red cashmere 
dress trimmed with rows of black velvet. Shawl and hood. 
Act IV, A handsome silk, white ground flowered with pink 
roses. A white shirred silk bonnet trimmed with small pink 
roses at the sides. A long white lace scarf worn loosely 
about the shoulders. Short white kid gloves, with black 
velvet bands and streamers around the wrist. 

Mary Barden. — Act I, Blue and white lawn, straw bon- 
net. Act III, Light print gown of lavender or pale green. 
Straw bonnet. Act IV, Gown of soft gray or Quaker drab 
with long scarf of same color. Bonnet of shirred silk of 
same tone, or straw trimmed with ribbons to match. 

Samantha Huggins. — Act I, Dark print dress fitting as 
primly and tightly as possible, white collar, gingham apron 
and sunbonnet. For the training, Scene 2, A flowered de- 
laine or challie, broche shawl or mantilla and bonnet with 
a feather turning out at an odd angle. Black silk mitts. 
Samantha must have a comedy effect but never burlesque. 
Act II, A flowered or striped silk or wool, green prevailing. 
Dark bonnet and mantilla. Act III, Light print gown and 
white apron. Act IV, A silk gown, fancy shawl or man- 
tilla, straw bonnet, and lace mitts. 

Mrs. Gibbs. — Act I, Flowered wool gown with dark 
ground, sunbonnet, and white apron. Scene 2, Same dress 
with shawl and bonnet. Act II, Black silk dress made per- 
fectly plain except for rows of narrow black velvet edging 
the bodice where it opens over a white mull chemisette. 
White apron in opening scene. Act IV, Same gown with 
white crepe shawl and straw bonnet trimmed with lavender 
or pearl gray ribbons. 

Louisa. — Act I, Short print frock, long gingham pinafore 
nearly covering frock, and tied over at back. Long panta- 
lettes, showing below skirt and coming to the tops of shoes, 



THE VILLAGE POSTMASTER 9 

which are just to the ankle, not above. Sunbonnet, gener- 
ally off the head, and hanging by strings tied in front. Scene 
2, Same with white pinafore. Act II, Pink wool frock with 
white ruffled pinafore, long pantalettes, hair curled or braided 
with pink hair ribbons. Slippers tied about ankle with 
ribbons. Large heavy shawl which drags on the ground, 
worsted hood. Act III, Light print frock, checked pinafore. 
Act IV, Stiffly starched white mull frock with gay ribbon 
sash, white leghorn hat with ribbon tied in bow at back, long 
pantalettes, slippers. 

Letitia Bean. — Act I, Light green lawn dress and straw 
bonnet. Act II, Light blue dress, hood and shawl. Act 
III, White dress. Act IV, Pink or green gown and leghorn 
hat or bonnet. 



10 THE VILLAGE POSTMASTER 



CHARACTERS REPRESENTED 

Seth Huggins The village postmaster and boss 

in the village, with political as- 
pirations. 

John Harper The Methodist minister's son, in 

love with Miranda. 

Ben Deane The village lawyer, and political 

" heeler "for Huggins. 

Ebenezer Todd Sexton of the Baptist Church. 

Rev. Chas. Gibbs The Baptist minister. 

Caleb Springer Father of Mrs. Gibbs. 

Thomas Jefferson Huggins A very bad boy, and a 

heavy responsibility 
to Samantha. 

Silas Toner.. A young farmer. 

Jim Pennel A member of the choir. 

Miranda Huggins The educated and lovable 

daughter of Seth. 

Mary Barden A seamstress whom nobody knows. 

Hattie Burley A coquette who knows her own 

mind. 

Samantha Huggins Sister to Seth who "carries 

a stiddy hand" but will 
quote poetry. 

Mrs. Charles Gibbs A motherly soul with moral 

courage. 

Louisa Called " Lowizy." The help 

at Huggins' "put upon " by 
Tom. 

Letitia Bean Who sings. 

Mail Carrier. 



The Village Postmaster 



ACT I 

SCENE i. — Interior of Seth Huggins' general store, 

also the post-office, Bridgewater, New Hampshire. 
Door c. opening on village green. Window R. c. 
looking on green. Counter up stage extending 
from R. to door C. A case of shelves from l. of 
door c. to L. On right end of counter is the post- 
office case of pigeonholes for letters. On centre 
of counter is a cheese covered with a box. Scales 
are at left end. On the floor in front of counter 
is a barrel with removable top. Some soda crack- 
ers in the barrel. Two or three boxes filled with 
vegetables in front of counter and shelves. The 
shelves are filled with crockery, boots and shoes, 
and general merchandise. Back drop painted to 
represent shelves holding merchandise. A barrel 
and box are down R., an old rusty wood stove L. 
with boxes to sit on around it, also a chair L. of 
stove. 

Discovered: Ben Deane, c., Ebenezer Todd, l. c, 
whittling ; and Jim Pennel, l., on boxes near 
stove. Silas Toner near post-office box leaning 
against counter whittling. All men except Deane 
are in farm clothes. 

Deane. (sits on soap-box c.) I tell yer what, boys, 
we've got to send Seth Huggins to the Legislater. He's 
just the man for the spot. 

Toner, (leaning against counter r. c, whittling) 
Wal, I've got to be pretty tarnel sure 'fore I put in my 
vote for enny man. What's Seth Huggins done to be 
put up by us ? 

11 



12 THE VILLAGE POSTMASTER 

Deane. Done ? Why, ain't he the richest man in 
Bridgewater ? He is wuth forty thousand dollars ef he 
is a cent, an' I can prove it. We want to show them 
fellers up in Concord that Bridgewater kin get up an' 
toot with the best. Seth Huggins is plaguey smart, an' 
he can talk to them fellers till they're yeller 'fore he'll 
knuckle to 'em. 

Toner, {doubtfully) Wal, I dunno. 

Deane. (rising, aside to Toner, while others talk) 
Now see here, Sile, you know how the taxes have been 
gallopin' up lately. 

Toner. Yes, by Jupiter. There's that forty acre lot 
o' mine 

Deane. Exactly. Wal, I calculate we kin git a 
purty considerable drop on them taxes if we git Seth 
in — why, he knows Franklin Pierce real well, writes 
letters to him. 

Toner, (surprised) Ye don't say. 

Deane. Sure' s you're alive, (to crowd) What can 
you expect o' Dan'l Berry? 

Eben. Nothin'. He's so tormented stingy he skims 
his milk at both ends. 

Deane. Just so. Now ye want to keep yer persition 
as sexton o' the meetin' house, don't ye ? (crosses to 
Eben.) 

Eben. I callate. 

Deane. Ye know how Seth stands there. 

Eben. Wal, if I hain't got my eye teeth yit, I'm be- 
ginnin' to sense 'em a-comin'. 

(Enter Seth Huggins, apparently from cellar c, back 
of shelves from l. with Jug of cider and jug of mo- 
lasses. He goes behind counter r. As Huggins 
enters Toner moves down stage, whittles stick to a 
point, uses it for toothpick.) 

Huggins. Wal, boys, howdy do, howdy do ? 

Omnes. Howdy, Seth Huggins, etc. 

Huggins. Real glad to see you. Hev somethin' 

Got it all ready for the trainin'. Can't give ye enny- 
thing but cider, 'cause I'm a law-abidin' citizen, yer 



THE VILLAGE POSTMASTER 13 

know. (Jim gets up and goes to counter quickly, Hug- 
gins turning out a glassful as he speaks, handing first 
glass to Jim) It's a leetle hard, boys, jest a leetle hard, 
but 't,ain't sperit and agin the law. 

Jim. (at counter r., who has been drinking) Wal, 
Mr. Huggins, thet has got a fizz to it sure enough. 

Huggins. (with a wink) It hez, hasn't it, Jim? 
Real champagny fizz. But 'tain't sperit, ye know, 'tain't 
sperit. 

(Exit Deane up c. giving a knowing look at Huggins.) 

Jim. (passing glass for more and returning to seat 
with glass) Certainly not. 

Toner, {tip to counter) Mr. Huggins, has that quart 
o' molasses run out yet ? 

Huggins. (puts fug on counter) Yes, here ye be. 
(Toner starts r.) Scripter measure, too. How's your 
poor mother's rheumatiz ? 

Toner, (turning back r.) Wal, jest about middlin'. 

Huggins. You'll be on hand for the trainin', I s'pose. 

Toner. I will certainly, Cap'n. (country military 
salute) 

(Exit R. 2 E.) 

Huggins. (comes around counter and pauses c. stage, 
anxiously watching Toner) Now there's a man that's 
settin' on the fence. He's got to be reasoned with. 
This kentry has got to go democratic, an' I've got to 
get up an' do a little laborin' in the field. I stand by 
Frank Pierce and he knows it. I thought I ought to 
set his mind to rest on that pint so I write him up to 
Concord t'other day. Ye see Frank Pierce and me are 
chums. 

Eben. (amazed) Ye don't say. 

Huggins. Oh, yes, I know Frank real well, born in 
the same county, an' sez I, Frank, I'll stand by ye an' 
make things hum at 'lection time, but I won't stand no 
whittlin' down o' the planks in that platform, an' ye 
might as well know it fust as last. 



14 THE VILLAGE POSTMASTER 

Eben. Jest so. 

Huggins. Oh, yes, Frank Pierce knows he can rely 
on Seth Huggins an' Bridgewater every time if he don't 
run agin Seth Huggins' principles — an' Seth Huggins' 
principles ain't the sort to be run agin. 

Eben. {admiringly) Thet's so, Cap'n, thet's so. 

Huggins. Yes, siree. Ez I was a-sayin' the Consti- 
tution {Scream from Louisa and stamping of feet 

by Tom outside. Huggins goes down l. Eben. comes c. 
Louisa enters r. Tom follows. Louisa knocks Eben. 's 
hat off. Eben. whirls around r., and bumps into Tom, 
r. c., falling into barrel against counter. Tom throws 
apple after Louisa, c., and follows her out c., Louisa 
screaming all the time and he jabbering " I' 11 catch you, 
I'll show you," etc. Tom slams door after him. Jim 
gets up and hides behind shelves, L., as if to dodge flying 
missiles) Jehosophat ! what's that boy up to now ? 
(calling, going to door c.) Thomas — Thomas Huggins 1 
He doesn't seem real quick o' hearin' somehow. 

Eben. Wal, he's pretty quick at jumpin'. Seth Hug- 
gins, you ought to send that boy to the house of cor- 
ruption. 

(Mail Carrier comes in with bag at door c, throws bag 
on counter.) 

Carrier. Look spry, please. Got to be gettin' on. 

(Huggins turns out letters on counter, r. c, and hands 
Carrier his mail.) 

Huggins. How's 'lection prospects up your way? 
Carrier. Purty fair for Pierce. Ain't begun to feel 
streaked enny yit. 

{Takes bag and exits through door c.) 

Huggins. (looking over mail) What was I say in' ? 
(behind counter r. c.) 

Eben. The Constitution 

Huggins. Oh, yes, yes. Wal— the Constitution 



(sorting letters. Suddenly stops— peering carefully at 



THE VILLAGE POSTMASTER 15 

letter. He bursts out laughing) Wal, wonders will 
never cease, {laughs loudly again) 

Eben. (restraining laughter) What's the matter, 
Seth ? What is it ? 

Huggins. Wal, I swow, Miss Simmons hez heard 
from Japhet Pennel at last. These widows an' old maids 
are purty clingin' when things begin to look a mite 
streaked, eh, Eb? (putting up letters in case R.) 

Eben. Never hed much experience. 

Huggins. (running over letters) Want ter keep yer 
trigger eye on 'em, Eb. Ye do so. (looking hard at a 
letter) Gosh all fish-hooks ! if Miss Pettingill hain't got 
a letter clear from Philadelphy. Never heard she had 
relatives in Philadelphy, 

Eben. (examines letter) 'Tis queer, ain't it ? 

(Enter Caleb Springer, door r. He is a sort of no 
account father-in-law of the Baptist minister. Ec- 
centric in make-up, and fond of a glass, though not 
a sot. He is Eben.'s rival after Samantha, and 
inclined to resent Eben.'s attentions to her. As 
Caleb enters he slaps Eben. on shoulder — Eben. is 
going c. Eben. doubles fists and shows hostility to 
Caleb which he returns. Bus. continued through- 
out play.) 

Caleb. Anything for me, Mr. Huggins? 

Huggins. Nothin', Caleb. 

Caleb. Nor for the elder ? 

Huggins. Yes — here's the Intelligencer for the elder. 

Caleb. Been kinder havin' a lay out over yender, 
haven't ye? (indicates part of counter where jug and 
glasses are) 

Huggins. Jest kinder preparin' for the trainin', Cale, 
that's all. (pouring cider) A leetle hard, but not sperit 
and agin the law. Won't you wet, Cale? 

Caleb. Don't mind if I do. 

(Eben. sits on box c. Caleb on box l. c, with glass. 
Huggins puts jug under l. h. end of counter.) 



16 THE VILLAGE POSTMASTER 

(Enter Miranda Huggins, r. 2 e., hurriedly.) 

Miranda, (r. c, quickly spoken) Oh, father, give 
me some sugar and nutmegs as soon as you can. Louisa 
forgot what she was sent for, and Aunt Samantha is all in 
a flutter waiting for the things. 

(Huggins takes Miranda' sface between his hands and 
kisses her.) 

(Enter John Harper, door c.) 

John. (c. Raising his hat and bowing to Miranda) 
Have you any foolscap paper, Mr. Huggins ? 

Huggins. I reckon I hev, Mr. Harper, (looking over 
shelves y gets sugar in package, and nutmegs) 

John. Good-morning, Miss Miranda. 

Miranda. Good-morning, Mr. Harper. 

John. Fine day for the training. 

Miranda. Beautiful. 

Huggins. (with brown paper parcels) Mirandy, 
here's yer sugar. Samanthy told me about it and I had 
it all put up for you. (Miranda takes parcel and starts 
R. Huggins continues) Did you say nutmegs ? 

Miranda, (embarrassed) Oh, yes, I forgot. 

(John smiles at this. Miranda starts to go r.) 

Huggins. (with foolscap paper for John) Will this 
do, Mr. Harper? 

John, (putting coin on counter) Yes, that'll do. 
(rushes after Miranda, door r.) Let me carry those 
for you. 

Miranda. They're such little ones. They're not 
heavy. 

John. Please let me. 

(John takes package and they are moving off.) 

Huggins. Here's your change, Mr. Harper. 

John. Oh, never mind, Mr. Huggins. It can't be 
much. (Eben. and Caleb look amused. Miranda and 
John go off together r.2 e. Huggins comes out looking 



THE VILLAGE POSTMASTER 17 

at two cents in his hand. Takes a small leather purse 
from his pocket and carefully puts in the two cents') 
Wal, a feller that don't think no more of money than that 
ain't goin' to get on in this world, {down c.) 

Eben . (whittling) I callate John Harper' s got suthin' 
else on his mind. 

Huggins. (c.) I'd like to know what's more im- 
portant than money to hev on your mind. ( picking up 
w hi tt lings and putting them in box by counter) 

Eben. (l. c.) Well, Mirandy f s grown up a dredful 
purty gal, ef I do say it. An' John — wal, he ain't blinder'n 
a mole in December ef he is the Methodist parson's son. 

Huggins. (excitedly, returning c.) Ebenezer Todd, 
ye don't mean to tell me John Harper's makin' up to 
Mirandy ? 

Eben. (placidly whittling) Wal, I only sed it looked 
that way. 

Huggins. (with decision) Callate that it'll stop right 
here. I ain't got nothin' agin John 'cept that he's a 
Methodist an' a whig, but he ain't forehanded. He's 
alius buyin' foolscap paper, and writin' stuff nights, an' 
inventin' things that nobody never hears on. 

Eben. John ken draw a straight furrer. 

Huggins. I ain't a-sayin' he can't when he's a mind 
to; he's ez good a hand ez ye'll git in hayin' time, an' 
wuth his wages, an' I s'pose with teachin' the destrik 
school winters he ought to lay by suthin'. But I'm 
looking higher for Mirandy. I've spent a sight eddi- 
catin' thet girl, an' the man thet marries Mirandy Hug- 
gins hez got to be somebody, (strikes fist on counter. 
Eben. and Caleb jump) He's got to be a good clus 
communion Baptist, too. (down r. c.) 

Eben. (crossing to c.) Thet's so. I hain't nothin' 
agin the Methodist dominie; seems a straight enough 
sort of feller — but ye don't want 'em in the family — ye 
kinder draw the line there. I know, I know. 

Caleb, (rising and stretching) Got enny more o' 
that plug chewin' terbacker? (coming c.) 

Huggins. (crosses to l. and l. c.) Look back of 
thet box, under the desk. (Caleb looks and takes out 



18 THE VILLAGE POSTMASTER 

cider jug) There, never mind that cider, {pointing, 
crossing l.) I put it there 'cause the fellers was helpin' 
themselves too promiskus like. 

(Caleb cuts off liberal supply of tobacco behind counter.) 

Eben. Hain't got no new cheese, have ye? 

Huggins. Yes, there, {points to box. Eben. goes 
in where Caleb is, and helps hi nself) 

Caleb, {coming out) Crackers ? Yes. Git 'em my- 
self — don't bother, {goes to cracker barrel R.) 

Eben. Gosh, I'm dryer'n a graven image. Guess 
I'll draw some cider. 

Caleb, (r., reaching over counter) Hold on, Eb, 
I'll help yer. 

Eben. Get out, I'll help myself. 

(Caleb goes and sits down on box R.) 

Huggins. {who had been uneasily watching Eben. 
and Caleb lunch, speaking aside) You fellers don't 
seem to need enny help. Might ez well keep a tavern, 
then I could charge for meals, {goes to counter as enter 
Mary Barden, r. 2 e.) 

Mary, {coming to Huggins) I would like two spools 
of black thread, forty and sixty, please. 

Huggins. All right, Miss Barden. {goes in behind 
counter. Eben. comes out still eating. Crosses to C.) 

Eben. {goes to cracker barrel r. i, helps himself) 
Howdy do, Miss Barden? Where be ye a-workin' now? 

Mary. (c. and l. c.) I am sewin' at Mrs. Harper's. 

Huggins. {with spools) How's the pews goin' there ? 
Do they seem to be gettin' on at the dominie's ? {hands 
her the spools over the counter) 

Mary, {taking spools and handing him money) I 
never ask any questions, Mr. Huggins. 

{Exit, door up c.) 

Huggins. Wal, I swan ! if thet girl ain't queer. 
(goes behind counter) 
Eben. {seated on barrel r. i. Jim sleeps quietly) 



THE VILLAGE POSTMASTER 19 

Alius thought she was. Who knows who she is, enny- 
way? Come here a teetotal stranger. {Enter Mrs. 
Gibbs, r. 2 e.) Howdy do, Mis' Gibbs? 

Mrs. Gibbs. Real smart, thank ye. 

Huggins. We wuz jest a-speakin' about Mary Bar- 
den. Did ye ever know enny one that knowed anything 
about her afore she come here ? 

Mrs. Gibbs. {crossi?ig l. c.) Dunno's I did. 

Huggins. Wal, there's no tellin' what she's been. 
{putting away letters) 

Mrs. Gibbs. There don't need to be any tellin' to 
my mind. She's a hard-workin' girl that don't poke her 
nose into ennybody's tater patch. It alius seem to me 
thet what lay back o' her face had gone through the 
deep waters, an' I don't want to know about it. Ef the 
good Samaritan had took up his time trottin' around in- 
quirin' about the man from Jericho, he'd been dedder'n 
a door nail afore he'd got enny ile poured into his 
wounds. 

Huggins. S'pose that's the Scripter way o' lookin' 
at it. 

Mrs. Gibbs. {up to counter) Now, Mr. Huggins, ef 
ye' 11 jist gimme one o' them brown bowls and a nutmeg 
grater, I'll be gettin' along. (Huggins gets them and 
gives them to Mrs. Gibbs. She knocks the bowl to see 
if it is sound) Good-mornin' ; my respects to Miss 
Huggins and Mirandy. {Exit, r. 3 e.) 

Eben. Good-morning, Mis' Gibbs. {rises, looking 
after Mrs. Gibbs. Caleb seizes his coat-tails. Eben. 
turns round, doubles fist, etc. ; they glower at each other a 
moment and then shake hands and sit down.) 

Huggins. {comes around counter, and sits on it, 
r. c.) Alius seemed to me ez if Mis' Gibbs wuz the 
man o' the two. Though Elder Gibbs ken preach a 
powerful sermon when he lays out to. But I'd be a man 
in my own house, or I'd know the reason why. 

{Enter Samantha Huggins, rushing in door r. 2 e., out 
of breath. Huggins swings around counter. Eben. 
and Caleb sneak out R. 2 e.) 



20 THE VILLAGE POSTMASTER 

Samantha. Seth Huggins, do you know what's come 
of Mirandy? No, of course you don't. You never do. 
You're no more good 'round the house then a pine dog 
with a popple tail, a-settin' here from mornin' till night 
talkin' polyticks. Men folks do seem to have an awful 
easy time. No wonder the Lord made all the door- 
keepers up there out of men. {she sees Jim asleep with 
feet on stove — pushes his feet off. He wakes up vio- 
lently) Women wouldn't know what to do with so much 
time to set around. 

(Jim looks at her, says : " Gosh" and exits on the run, 

R. 2 E.) 

Huggins. (behind counter, very meekly) Samanthy, 
are you forgettin' that you are a perfessor? 

Samantha. (l. c.) No, Seth, I ain't forgettin' 
nothin'. That's why I am here. Such kerryin's on ez 
there's been this mornin'. It does seem rather more than 
I can stand. 

Huggins. Now, when Malviny was livin' she never 
had a hired girl. 

Samantha. Don't talk to me about Malviny. -That 
woman was too much put upon. That's the reason she 
died. Gimme that sugar, quick, {crosses to counter. 
Enter Caleb and Eben., r. 2. Huggins gets sugar 
quickly. Samantha sees Eben. Manner changes- — 
smiles.) Why, Mr. Todd, and Caleb, too — I never seen 
ye 'tall. You boys goin' to be out for the trainin' ? 

Eben. Yes, Miss Huggins. I'm fust sergeant, ye 
know. 

{Enter Deane, c.) 

Samantha. (r. c.) Sure enough, {half turns and 
sees Deane) Howdy do, Mr. Deane ? 

Deane. (c.) Howdy do, Miss Huggins. {goes and 
sits l. of stove) 

Samantha. {to Eben.) I alius thought regimentals 
wus so becomin'. 

(Huggins puts sugar in parcel. Does not weigh it.) 



THE VILLAGE POSTMASTER 21 

Eben. {taking co??iplimetit to himself} Do you really, 
Miss Huggins ? 

Samantha. Yes. But I alius think o' them lines : 

" How vain the show o' martial arms, 
The beat o' warlike drums " 

Land ! that sugar ! {snatches parcel from Huggins, 
starts quickly toward R. 2 E.) 

Eben. {starting off after her) Let me kerry thet for 
ye. 

Caleb. Let me kerry it, Miss Samantha. 

Samantha. {to Eben.) Wal, ye may. I'm some 
beat out a-gettin' here. 

(Eben. takes parcel triumphantly and they go off to- 
gether quickly r. 2 e. Caleb looks disgusted, and 
exits ; r. 2 e., following Samantha) 

Huggins. {comes r. c.) Jerusalem ! ef Eb ain't 
makin' up to Samanthy, after my warnin' him, too. 
S'pose he's found out she's got some money o' her 
own. 

Deane. (c. and l. c.) Thought I'd run in and tell 
ye I think Blake and Smithers'll come around all right 
'fore the corkus meetin'. 

Huggins. {pleased, seated on barrel r. c.) Ye don't 
say? Wal, ye hev talked turkey to 'em and no mis- 
take. 

Deane. {embarrassed, at counter) Yes, and there's 
suthin' else, Mr. Huggins. I've been wantin' to ask 
ye for some time — an' I didn't seem to git to do it 
somehow — I {pause) 

Huggins. Wuz it them eaves-troughs to yer office? 
Ef it wuz, speak right out. Don't be afraid to ask. 

Deane. No, 'twan't thet — wal, you see, I — I wanted 
to ask ye if ye had enny objections to my keepin' com- 
pany with Mirandy ? 

Huggins. {much pleased, but pretending to hesitate) 
Wal, Mirandy's a purty likely gal an' — no, I dunno's I 
hev enny objections — no, none 'tall. 



22 THE VILLAGE POSTMASTER 

Deane. (r. c, shakes hand) Thankee, Mr. Huggins. 
Ye can callate on me doin' all I kin fer ye. But, 
M'randy — I haven't never sed much to her. Dunno's 
she'll take to me enny. 

Huggins. (r. c.) You jest go ahead, an' don't you 
worry 'bout thet. M'randy ain't never crossed me yet, 
and she ain't likely to. I've alius been one whose 
'pinions wuz looked up to an' respected, an' I'm used 
to havin' 'em respected among my folks. 

Deane. Wal, I saw M'randy walkin' with John 
Harper — I didn't know but they were keepin' company, 
— and 

Huggins. Wal, they ain't — not with my consent. 
(crosses to L. and L. c.) 

Deane. I s'pose then you've heard about his doin's. 

Huggins. What doin's ? 

Deane. (crossings.) Wal, he hasn't any right to 
keep company with any girl 'cept one — and he ought to 
marry her. 

Huggins. Who's that? {slight pause, going up to 
counter front) Mary Barden ? 

Deane. (starting, then assuming composure) I 
didn't say who it was, but folks are likely to know 
before long, (goes r. c. in front of counter) 

Huggins. Wal, if he's that stripe, he'd better not 
come 'round M'randy. (looks at watch) Lordy ! 
didn't know it was so late ; must shet up for the trainin'. 
(turns to lock door) 

(Enter Mary up c. Deane sees her and turns from 
' her, showing some fear. Huggins meets her.) 

Mary. Mr. Huggins, Miss Blake forgot the candles. 
Gimme two pounds, please, (comes down c.) 

Huggins. Wal, ye' 11 have to wait a spell. Got to go 
down cellar and open a box. (goes back of shelves. 
Deane moves to r.) 

Mary, (c.) Ben, I want to 

Deane. (goes back to r. c.) Sh ! Mary, I've got 
something to tell ye. Ye see I've got my future to 
consider. I've got prospects, an' I daren't throw 'em 



THE VILLAGE POSTMASTER 23 

away. I ken marry where I'll git money, an' among 
folks that'll help me along in the world. You wouldn't 
want me by marryin' you to give up all my hopes for 
the future. 

'Mary. What are my hopes for the future ? Hev you 
thought o' that ? 

Deane. Now, Mary, don't make it too hard for a 
feller. I thought a sight o' you, an' I do yet. But 
better men than me have hed to set aside their heart 
promptin's for success in life. 

Mary, (bitterly) You took me away from home, 
Ben — you took me away from everything — I daren't go 
back, (goes slightly l. and l. c.) 

Deane. (slightly folloiuing her) I know, Mary — 
but how was I to s'pose this would come up? When it's 
love or duty, love hez sometimes to give in. 

Mary, (turns on Deane) Don't call that kind of 
a feelin' duty. It's as far from it as night is from day. 
As fer the love that ken stand one side for money, it's 
a poor sort thet I wouldn't own to. (to him pleadingly) 
It ain't the sort I had for you, Ben. Ye know that well. 

(Deane turns slightly from Mary during speech.) 

Deane. (ashamed) I know it, Mary — 1 know it — 
I ain't like you, patient and sacrificin' — I never ken be 
like you. But I don't sees I hev a call to give up every- 
thing fer my own likin' in the matter. 

Mary. (r. c.) Then ye do care for me yet, Ben — 
ye haven't forgot what ye said. 

Deane. Yes, I do care for ye, Mary. (Mary goes 
to him, arms about his neck) An' I ain't likely to forgit 
but it's all got to be put away now. (they separate) 
I'm goin' to rise in the world. I've got the faculty, 
an' I ain't goin' to stay under ground. You must 
understand that, Mary, an' you must never bring up 
these things again — never, {sounds of cellar door clos- 
ing off l.) Hush — here he comes. (Deane starts 

R. 2 E.) 

Mary. Ben (Deane puts finger on lips and 



24 THE VILLAGE POSTMASTER 

exits r. 2 e. Looking sadly after Deane) Never 
speak of it again Oh, God ! 

{Enter Huggins.) 

Huggins. {behind counter) Here's yer candles, 
Miss Barden. 

Mary, {starts and recovers herself) Oh, yes. {takes 
parcel, and starts toward l. up c., then stops and turns 
back) I forgot — I was to pay for them, {gives him 
money, and goes off up c.) 

Huggins. {up c. Putting money in his purse) 
Seems as ef everybody wuz keepin' company around 
this burgh, the absent-minded way they have of paying 
for things, (locks door c.) But, Mary Barden — so 
John Harper's the man, is he? — well, I must be spry. 
The Captain of the Milishy must set an example. 

(Exits, locking door r. 2 E.) 

{Dark change to Scene 2.) 

Note. — Store counters, etc., on casters, boxes, barrels, 
etc., on linoleum stripes to draw out. This scene 
should be busy and thoroughly convincing. Should 
look crowded with stuff. 

End of Scene i. 

Scene 2. — The village green showing exterior of post- 
office and general supply store at left. Huggins' 
name is on sign with a smaller sign below it over 
the door reading "Post-office." This door must 
be made to open. The back drop represents a 
country hotel called "Berry's" extending from 
R. to R. C, the remainder of the drop showing land- 
scape, and part of the village of Bridgewater. Tab 
on right represents "Berry's Hotel Sheds." Tab 
on left continues back drop landscape. Foliage in 
autumn tints. Entrances R. 1, R. 2, L. 1, and L. 3 E. 
Bench at r. c, another bench up r. in frotit of 
hotel. A flagstaff up c. with a wooden box in 
front of it. 



THE VILLAGE POSTMASTER 25 

(Hattie Burley heard calling from r., runs on r. 2 e.) 

Hattie. (still calling) Mr. Huggins ! (goes to 
store door and tries it. Enter Mrs. Gibbs, l. 3 e. To 
Mrs. Gibbs) Ain't it mean? It's locked, and I was 
expectin' a letter. 

Mrs. Gibbs. (l. c.) Wal, it's trainin' day, ye 
know; ye can't expect it to be open, (looking admir- 
ingly at Hattie) I guess some folks hez got a new 
bonnet. 

Hattie. (l. c.) Yes, and you sit right down there 
(pointing to seat r. a), Mrs. Gibbs, and tell me how 
you like it. (turns around for inspection) 

Mrs. Gibbs. It's real smart, no mistake. But then 
you hev the faculty of puttin' on things. 'Tain't every- 
body hez the faculty that hez things. I'm thinkin' it'll 
go hard with the young men to-day. (crosses to seat r. c. ) 

Hattie. (crossing r. Coquettishly) Why, Mrs. 
Gibbs ! But you see my future's settled. I've been 
willed to a young man like a family clock or a second 
best bed. 

Mrs. Gibbs. (surprised) Harriet Burley ! {Drops 
down on seat r. C.) 

Hattie. Yes. It's a cheerin' prospect? isn't it? 

Mrs. Gibbs. Hev you got to hev him ? 

Hattie. (sitting on bench r. of Mrs. Gibbs) Well, 
I don't s'pose there'd be any forcin' if I'd get right up 
and say I wouldn't. But his folks and my folks seem to 
want it, and I — well, I haven't thought much about it. 

Mrs. Gibbs. Don't you know whether you care for 
him? 

Hattie. (doubtfully) Well, I like him — I don't 
know whether I'm really in love with him — sometimes I 
wonder if I am. (suddenly taking Mrs. Gibbs' hand 
and speaking seriously) Do you suppose you could tell 
me what being in love really is? 

Mrs. Gibbs. (seriously) No, Hattie, I don't sup- 
pose I could. The right sort is something like expe- 
riencin' religion. It's kind o' borne in on ye in a mys- 
terious, convincin' way. Ye don't ever wonder //"ye're 



26 THE VILLAGE POSTMASTER 

in love. The only wonderin' ye do is when an' how it 
began. 

Hattie. (wonderingly) Is it so beautiful and solemn 
like to every one? 

Mrs. Gibbs. It ought to be, Hattie, when it's got to 
last a whole lifetime. 

Hattie. {pressing Mrs. Gibbs' hand) How you 
always help everybody. But you don't think it's wrong 
for me to have a little fun before I'm spoken for? 

Mrs. Gibbs. Flirtin's dangerous, Hattie. It's like 
them guns that ye don't know are loaded. Some one's 
alius gettin' hurt when ye ain't expectin' it. {looks off 
r. Jtises) There's old Miss Durkee a-beckonin' to us. 
I want thet picklin' receipt o' hers, {crosses R.) Let's 
walk over, {stopping and looking back at Hattie) 
We'll be in plenty time for the trainin'. 

{They exit r. i e. Enter John and Miranda up l. 
As Hattie is going off } she turns, sees John, and 
smiles at him. John nods to her. He is still car- 
rying Miranda's parcels. They come down stage.) 

John. (r. c.) Yes, Miranda, it's a true one — this 
story I want to tell you. It's the story of a friend's 
trouble, and you must tell me what is right for him to do. 

Miranda, (sitting seat r. c.) But perhaps I can't. 

John, {ivith one foot up on seat bending over 
Miranda) Yes, you can. You are always right. A 
man is betrothed to a woman in a will — that is, it is the 
wish of the girl's father that she would marry the son of 
his old friend. The girl is rich, the young man's parents 
are poor. 

Miranda. And they want him to marry her? 

John. Yes. They have had the prospect of this 
marriage before them for years. When the young people 
finally meet, the man has lost his heart to another. He 
cannot love the girl whom his parents wish to be his wife, 
though he is told that she cares for him. Now, ought he 
to marry this girl who has honored him by giving him 
her heart — it would make his father and mother both 



THE VILLAGE POSTMASTER 27 

happy — or ought he to follow his own heart, which is 
pulling him so strongly in another direction ? 

Miranda. But the other girl, — the girl whom he 
really loves — does she love him ? 

' John. Ah, if he only knew, (sits beside Miranda, 
laying parcel on seat) 

Miranda. It wouldn't be so dreadfully hard for him 
to find out. {eagerly) Why doesn't he ask her? 
(thoughtfully) Suppose she would be very unhappy 
always if he married some one else — she ought to be 
thought about a little, you know. 

John, (quickly) Oh, she is thought about a great 
deal — yes, a great deal. 

Miranda. Why, John, you seem to know a sight 
about this friend's affairs. 

John. I do. We are very intimate. 

Miranda. Why don't you advise him yourself then ? 

John. Because I care too much for him to be just, 
and I know so well what he wants. 

(Ready — distant roll of thunder.) 

Miranda. The thing that is hard is almost always 
the right thing to do. He ought to follow what seems to 
him duty. It will come out clearer after a while. 

John. Do you think so, Mira ? 

Miranda. Is there any other way ? 

John. But he can't, Mira. He's going to tell her he 
loves her. He is going to tell her whether it is right or 
not. 

(Enter Deane quickly r. 2 e. ; comes to Miranda.) 

Deane. Good-mornin', Miss Mirandy» (nods to 
John, who very coldly returns it and half turns back on 
him) 

Miranda. Good-morning, Mr. Deane. (sees par- 
cels) Oh, those things. (Enter Hattie, Letitia Bean 
and two girls R. 1 e. John takes up parcels and starts) 
Give them to me. What will Aunt Samantha say ? No, 
no, you mustn't come, (crossing toward l*. 1 E.) 

Deane. (following her) May I ? 



28 THE VILLAGE POSTMASTER 

(Hattie runs up to John.) 

Miranda. No, no, I'm only going over to the house. 
I'm coming right back. 

Hattie. John, come here. Come tell Letitia. {pull- 
ing at his arm. She draws him up c. He bows to 
Miranda and goes) 

{Enter Rev. Chas. Gibbs l. 3 e., carrying flag folded, 
soldier with gun, and two girls following him . Mr. 
Gibbs and soldier remain near flagstaff , and two 
girls join the other group r.) 

Miranda, (l.) No, no, Mr. Deane, I must hurry. 
(starts to go) 

Deane. But I've got to go up there on business. 
Can't I carry them? 

Miranda. Oh, very well, come along, then. 

(They exit together L. 1 E. John comes away from the 
group and crosses to L., watching them.) 

(Enter Caleb, with gun, l. c. ; joins Mr. Gibbs and 
soldier, whom he salutes.) 

John. She let him go with her, that sneak. Does 
she care for him ? No, no, I can't believe it. 

Hattie. (coming down to him) John, what is the 
matter ? Why, you look like a thunder-cloud. 

(Distant roll of thunder.) 

John. Do I? Well, I'm not the only one. Look 
up there, (points to sky) 

Hattie. Oh, dear ! do you suppose it's going to 
rain? 

John. I wouldn't be surprised. 

Hattie. And my new bonnet ! Oh, John, just think 
of it. 

John. Let me go and get you an umbrella, (start- 
ing l.) 

Hattie. (restraining him) No, you won't. You'll 



THE VILLAGE POSTMASTER 29 

forget to come back. You come here, now, and tell 
Letitia what you are going to do. 
John. But, Hattie- 

{Enter tiuo girls, r. i e., and join the others. Caleb and 
man move bench from R. c. down r. </ l. 2 E.) 

Hattie. Come along, (drags him back to group r.) 

Letitia. Say, girls, let's have a dance. 

Hattie. What will Mr. Huggins and Elder Gibbs 
say? 

Letitia. Oh, who cares ? Come on. 

( Village dance for girls. For description of dance see 
end of Act I. During dance Mr. Gibbs raises flag 
on staff. Men cheer three times and then stand 
clapping time to music. John on box. After dance 
John joins Hattie and Letitia, who, with the other 
girls, run up stage and stand about R. and R. C.) 

(Ready — rain and thunder.) 

(Enter Huggins, l. 3 e., dressed in uniform and wear- 
ing sword. He goes to store, takes out key from 
pocket, opens door, enters and brings out bottles 
and glasses, which he sets on bench beside door. 
Locks door again. Enter Eben., r. i e., while 
Huggins is setting out things. He wears military 
trousers, ordinary dress coat, a cap with shako, 
and carries old flint-lock. Eben. marches in a 
rickety manner across the stage, hemming and haw- 
ing to draw attention to himself, marches up r., and 
after crossing guns with Caleb, sets his gun against 
bench L. c.) 

Hattie. (before Eben. enters — looking off r. To 
girls) Oh, girls, do look at Ebenezer Todd. Guess 
there has been a mutiny amongst his clothes, an' some 
of his regimentals deserted. 

(Eben. helps Huggins bring out glasses.) 
Letitia. Don't say nothin'. (pointing) Sile's got 



30 THE VILLAGE POSTMASTER 

'em. [enter Toner, l. i e., wearing a military coat, 
striped black and white trousers and a drum-major' s 
hat, carrying a gun with bayonet. Letitia meets him c. 
His hat tumbles off as she pokes him) Goin' to war, 
Sile? 

Toner. Nary ; callate my folks want me for home 
consumption, {goes up L.) 

{Enter Jim, r. i e., carrying gun ; marches c, makes mili- 
tary turn and goes up c. to Toner. Enter Deane 
and Miranda, l. i e. Huggins and Eben. come 
to c./rom store.) 

Huggins. (looking up to sky) Bet a gold dollar we 
don't get to drill to-day. There's an old thunder clap- 
per coming up in the west. Likely to rain cats and dogs 
afore we get through. 

( Girls look up at the clouds, then at their dresses and 
show apprehension.) 

Eben. You're right, Seth. Looks mighty lowery. 
(scanning Huggins' sword) Old timer, ain't it? 

Huggins. (proudly) Yes. Was fit with in the Revo- 
lution. Come back from Concord with that same dent. 
( pointing to dent) 

Eben. Gosh ! It must have hit a rock. 

(During this speech Toner is seen gathering some men 
together up l. He comes down to Huggins, leading 
men. Huggins goes down r. c. at the same time 
that Louisa comes on at L. i e. She goes to store 
door, looks at the array of bottles, and creeping up 
cautiously, takes up one, and drinks long and deeply. 
As all are watching Huggins and Toner, no one 
sees her. This business takes place during follow- 
ing speech. Eben. gives his arm to Samantha, 
and leads her up r.) 

Toner. Mr. Huggins, I've been apinted spokesman 
of a delegation to wait on ye, an' get yer sentiments re- 
gardin' the nomination. Ain't that 'bout it, gentlemen? 



THE VILLAGE POSTMASTER 31 

All. {coming down R. c. slightly) Yes, that's it. 
Go ahead. 

Toner. Now, the first thing is, are you sound on the 
constitution ? 

Huggins. What ? 

Toner. Are you sound on the constitution ? 

(Ail cheer as Huggins goes up stage to speak.) 

Huggins. {drawing himself up. Gets up on box) 
Feller citizens, I'm a Democrat. 

{Croivd cheers.) 

(£nler Tom, l. i e. ; sees Louisa, who does not see him. 
Tom creeps up behind her, while her head is thrown 
back drinking from bottle, seizes the two small 
braids ivhich stick out from the back of her head 
like spikes, pulls them violently, which causes her to 
drop the bottle. Louisa screams. All turn. Louisa 
flying exits cross stage to r. i e. Tom takes up 
bottle, throwing h,;s head back, begins to drink.) 

Jim. Wal, thet's all right bein' a Democrat. But we 
want to know what yer goin' to do for this town? 

Toner. Yes, Mr. Huggins, what ye goin' ter do for 
Bridgewater? (Samantha sees Tom and glides quietly 
up behind him, taking him by the ear and bringing his 
drink abruptly to a close. Takes the bottle from him, 
looks in it, seems horrified at his deep potations, cuffs 
the other ear, sets down bottle and walks him doivn stage, 
r., still holding him by the ear) There's that North 
turnpike, there's the taxes want whittling down, and 
there ought to be new front steps to the schoolhouse, to 
say nothing of the chimbley that can't be made to draw. 

Huggins. I hev said, feller citizens, thet I am a 
Democrat, an' a Democrat is not likely to ferget his con- 
stitooants. (Jim lets out an individual cheer. Huggins 
says " Thank you," and Jim bows his acknowledgments) 
I hev thought of that turnpike. I hev thought of them 
steps, and I hev thought of — {hesitating as if out of ideas) 
a lot of other things. (Louisa enters, r. 2 e., and goes 



32 THE VILLAGE POSTMASTER 

back of crotvd to L., near bottles) And (stops 

again) Wal, wait till I'm elected. Ef I don't make 
them fellers thet's shellin' out appropriations here and 
new roads there, an' lighthouses an' all thet tormented 

foolishness (Louisa drinks again) Ef I don't make 

them rest a spell, while I set some of them dollars a-rollin' 
down into Bridgewater, my name ain't Seth Huggins, 
thet's all. (gets down from box) 

All. Thet's it ! Hooray for Seth Huggins ! 

(Exit Mr. Gibbs. Women clap hands and wave hand- 
kerchiefs. Samantha, in her excitement, forgets 
Tom, and lets go his ear. Tom darts toward 
Louisa, who drops bottle and runs screaming off 
r. i e. , Tom following. Huggins goes down to bench 
L., preparing glasses, etc. Eben. takes gun from 
bench and sets it against house L. of door L. 2 E. 
As Louisa flies screaming before Tom across foot- 
lights, Samantha gets excited, strikes at Tom as he 
passes her, misses him, swings clear around, drops 
umbrella and runs up to rebuke Toner, l. c, who 
is laughing at her. Eben. joins her, and Toner 
salutes in acknowledgment. Eben. leads Samantha 
up r. Tom enters, r. i e. ; goes over to L. 2 e. 
Takes Eben.'s gun to c. Military bus. ; marches 
off L. 1 E.) 

Huggins. (at bench l.) Come up and hev some- 
thing. Cider, ginger beer, anything there is. (pours 
cider into glasses. All except Samantha and Eben. 
drink, dispersing as follows. John, Hattie and Le- 
titia down l. Miranda and Deane up c. Toner, c. 
Caleb and Soldier up c. and l. Girls dress stage r. 
Jim at bench. Huggins turns to Jim) How's yer boy, 
Jim ? Heard he had the chicken-pox. 

Jim. Middlin', thank ye. (Huggins goes L. c, Jim 
to Toner, c.) Seth Huggins never asked arter my folks 
afore. How he has changed all of a sudden. 

Eben. Gosh ! it's raining over at the meeting-house 
now, sure as you're born. It's liable to come down on 
us any minnit. (girls look distressed) 



THE VILLAGE POSTMASTER 33 

Huggins. (c.) Well, we hain't feather-bed soldiers, 
Eb Todd, and I guess if I kin stand it you kin. 

Eben. Yes, Captain, {salutes aud then rejoins 
Samantha) 

(Band off up l.) 
Huggins. Comes, boys, the band is a-comin*. 
{Enter the band up L. Cheers.) 

{Bus. of band. Samantha and Eben. go up l. 3 E. 
Deane and Miranda go doivn r. i e. John, 
Hattie and Letitia skip up r. Jim and Toner 
stand c, facing R. and keeping time with feet, 
Toner out of rhythm. Caleb marches awkwardly 
across l. u. Girls about r. Huggins goes up 
L. c. to meet band leading them around stage r. 
Band consists of three couples. They come down 
and across footlights to L. up and across c. single 
file, forming line c., then down to footlights, 
counter-march toward the L., /// and down L. in 
couples, forming there in two lines facing <z. Eben. 
and Samantha follow band on and around until 
they start c. to form line. Eben. and Samantha 
going on up L. and around to r. u. Toner and 
Jim fall in behind Samantha and Eben. as they 
pass doivn the first time stopping down r., facing c. 
and doing the same bus. as before. All of the others 
dance about in their same relative positions as soon 
as the band starts up, waving handkerchiefs, moving 
in and out and showing great animation. Band 
stops playing as it stops marching.') 

Huggins. (l. c.) Three cheers for the Bridgewater 
Village Brass Band. Hip ! Hip ! Hip ! ! 

All. Hooray ! {drums roll, handkerchiefs wave) 

Huggins. Hip ! Hip ! Hip I 

All. Hooray ! {same bus.) 

Huggins. Hip ! Hip ! Hip ! 

All. Hooray / {same bus.) 

Huggins. Tiger ! 

All. Ah 1 



34 THE VILLAGE POSTMASTER 

(Band plays " Yankee Doodle " and all dance as before. 
Band goes up l. and remains there until rain com- 
mences to fall when they all exit hurriedly L. 3 e., 
playing " Hail Columbia") 

Huggins. Now, boys, fall in, and we'll have a drill. 
{supers, Toner, Jim and Caleb form in line down c. 
To Toner) Turn those toes out. (to Jim) Turn 
those toes in. (ad lib. Bus. with sword knocking 
toes) 

Eben. (looking wildly for his gun) Drat that gun ! 
I swear ! If it ain't gone. Who's got my gun? (runs 
up to others. Samantha joins in the search) 

Huggins. (impatiently, the others all in line) Wal, 
fall in, fall in. 

Eben. Putting on airs, be'nt you ? 

Huggins. No, I ain't. Fall in. 

Eben. Gol darn it. How'm I goin' to fall in with- 
out my gun ? 

Huggins. Fall in. 

Eben. Fall in when I get good and ready. I'd 
wrastle you for two cents. I'll take you out in the 
meadow, and mow your legs off. 

(Rainfalls heavily. Thunder.) 

Huggins. This ain't a hay day. 

{All scream and rush up under shed r. u. Toner 
spraivls flat, going u. Eben. raises Samantha's 
umbrella down r. and runs up stage with her, then 
returns wih umbrella l. h. side of Huggins, who 
comes down with him. Tom comes on with gun 
L. 3 e., fires it off in the air. Women scream. 
Tom drops gun. Eben. leaving umbrella with 
Huggins c. pursues Tom to l. 2 e. and spanks 
him as curtain descends.) 

{Second picture same. All pointing to Eben. and Tom, 
and laughing.) 

CURTAIN 



THE VILLAGE POSTMASTER 35 

VILLAGE DANCE 

Eight girls, four couples. 

First Figure. — Position at opening and close. 
{Cue for music: " Who cares ? Come on / ") 

i st eight beats takes them to corners. 
2d eight beats takes them back to C, where they clap 
hands and curtsey. 

Note : Whenever hands are disengaged they should be 
holding up skirts slightly in front ; elbows close to 
sides, like prim little Puritan maidens. Whenever 
not otherwise moving, girls should be balancing to 
partners. Little joyous laughs and screams should 
punctuate the dance at 3 and at close of figure. 

3d measure (1st half) takes all back to position again. 

In 2nd half couples (1-2) and (5-6) cross stage, 1 pass- 
ing between 5 and 6. (3-4) and (7-8) are balanc- 
ing. 

4th measure. Couples (3-4) and (7-8) change places, 4 
passing between 7 and 8. All balance. 

5th measure. All balance. 

6th measure. All swing partners. 

7th and 8th measures, circle to the right half-way 
around stage to positions, clap hands and curtsey 
on last beat. 

Note : Balance step is one foot over the other, com- 
mencing right foot over left on first beat of measure. 
The step when not balancing is a simple skip. 

{Slight pause in music between figures.) 

Second Figure : 

1st eight beats takes them to 3. On the eighth beat all 
turn around facing out and lock elbows. 



36 THE VILLAGE POSTMASTER 

2d eight beats (ist half) circle half-way around to the 
right where 4 and 5 break, 5 going on around in 
2d half of measure, leading her end up l. and 
down, while 4 leads her end down by footlights and 
around to meet 5, thus turning the circle inside out, 
with all hands clasped. 

3d eight beats. 4 and 5 break again, straightening the 
circle into a line thus : 

4321876 

4th eight beats brings them into position for balancing to 
their neighbors, as above. 

5th eight beats, balance and swing opposite half around 
with right hand. 

6th eight beats. Swing partner to place with left hands. 
Curtsey and clap on last beat. 

(Slight pause in music") 

Third Figure : 

1 st four beats brings all to center in a circle, break 
hands and all circle to left around (1-2) who take 
up position c. Line forms as the others circle 
around them, 3 stopping next to 1, 4 next to 2, 5 
next to 3, 6 next to 4, 7 next to 5 and 8 next to 6, 



thus: 



75312468 
00000000 



All balance down in a close line and back again, eight 
beats each way. (1-2) remain c. 7 leads 5 and 
3 around down r., facing c, and 8 leads 6 and 4 
around down l. facing c. (1-2) balance down and 
back eight beats each way. Side lines balance 
backward and forward, eight beats each way, clap- 
ping hands. Next eight beats take all down to 
footlights as follows : 



THE VILLAGE POSTMASTER 37 

First, (1-2) dance directly down l. 8 dances back of 
them over to 7 and they take their position r. 

6 then dances over to 5 and takes her down next 
to (1-2) (7-8). All take hold of hands and balance 
out the measure at footlights. 

At the beginning of the next measure, 4 leads 3, 8 and 

7 up l. down around across footlights and up r., 
5 leads 6, 1 and 2 up r. down around across foot- 
lights and up l, 5 passes behind 4, 6 behind 3, 
1 behind 8 and 2 behind 7, both times crossing c. 
All form close line up stage, as follows : 

43872165 
00000000 

All skip down to footlights in line on last eight beats. 



THE VILLAGE POSTMASTER 



ACT II 

SCENE. — Living-room in Mr. Gibbs' house. A wide 
fireplace with burning logs at centre back. Plain 
old-fashioned colonial mantel above it. Two colonial 
candlesticks on mantel. Door r. of fireplace and 
windozv l. opening on to country, snow-covered land- 
scape backing. Window gauzed. Green paper 
shades and white muslin curtains at window. Door 
L. 2 E., leading to spare room. Door R. 2 E., to 
kitchen. Door r. 3 E., to dining-room. Old fash- 
ioned armchair each side of fireplace. Stool near 
chair , l. Melodeon up l. Table L. C, chairs 
r. and L. Small mirror on wall l. Rag carpet on 
floor. Occasional chairs, splint-bottomed. Red 
cloth on table. December evening. Snowing. At 
rise of curtain, in front of fireplace, Caleb is dis- 
covered sitting in big armchair asleep. Sleigh bells 
heard, party singing in sleigh going by house. 
Lights up. 

{Enter Mrs. Gibbs, l. 2 e. Takes stool from r. c.) 

Mrs. Gibbs. {goes up to hearth. Sees Caleb) Now, 
pa, you hain't got on yer clean shirt yit. 

Caleb, {starting up. Yawning and stretching) Wal, 
I'm goin' to ef ye'll gimme time. 

Mrs. Gibbs. {looking out of window l. c.) Com- 
pany '11 be here purty soon and I want to comb yer hair 
and put on yer stock fer yer. (arranges chairs L.) 

Caleb. It'll be quite a spell 'fore they come, {com- 
ing down c.) 

Mrs. Gibbs. Now, pa, do put on yer best shoes. 

Caleb. See here, Hanner, I'm goin' to grease these 
all up and I'll make 'em look just as good as new, when 
I get to that taller. 



THE VILLAGE POSTMASTER 39 

Mrs. Gibbs. Ye don't look a day older'n Eb Todd. 
Not a day. 

Caleb. That's so, Hanner. Ye think Samantha will 
be' to the party, don't ye, eh? 

Mrs. Gibbs. Yes, I suppose she will. Wal, now, go 
and git on yer shirt. It's laid out with yer stock in the 
spare room, (hustling him off l. 2 e.) 

Caleb, {going l.) All right, Hanner, — all right. 

{Exit, l. 2 E.) 

Mrs. Gibbs. {looking in glass l.) Dear me, if I 
haven't forgot my breastpin. Takes all my time to see 
to the men folks. 

{Straightens cover on Caleb's armchair ivhile talking to 
Louisa. Enter Louisa, r. 3 e. — stands in doorway^ 
hanging on to latch, swinging one foot.} 

Louisa. Did ye want them emptins set off, Mrs. 
Gibbs? 

Mrs. Gibbs. Oh, yes, Lowizy. They didn't get all 
het, did they ? 

(Ready — sleigh bells.) 

Louisa. No. Guess not. Miss Mirandy's come over 
to help, and she wants to know if she'll 'tend to the 
doughnuts. 

Mrs. Gibbs. Yes, Lowizy, she kin. {goes c, and 
takes chair, placing it against scene R. c. Enter Caleb, 
l. 2 e., shirt in hand, with stock, goes up to fireplace, 
shivering and shaking) Pa Springer, why don't you 
change ? 

Caleb, {warming shirt at fire) That spare room's 
colder'n the north side of a gravestone in Jinoary. 

Mrs. Gibbs. You could have left the door open and 
let in a little heat. 

Caleb. Wal, Charles is a-changin' in there, and he 
didn't want the door open with so many women folks 
around. 

Mrs. Gibbs. For the land's sake, is Charles there ? 



40 THE VILLAGE POSTMASTER 

{starts L.) An' I fixed it all up for the girls to put their 

things in. It does seem {stopping and turning 

around l.) Now, pa, will yer go and git on thet shirt? 
I sha'n't git yer hair combed at all. 

Caleb, {standing helplessly) Wal, I dunno where 
to go. My room's chuck full of punkin pies set around 
on chairs and dishes all over the beury. (jumps away 
from the fire holding back of leg as if burnt) 

Mrs. Gibbs. That's so. Wal, you go into the dinin'- 

room {crosses to r. 3 e. Calls) Lowizy, tell 

Mirandy to come in here, and you stop out of the dinin'- 
room for a spell till grandpa changes. 

Caleb. (Caleb's shirt catches fire. Jerking shirt 
away from fire) Jest ketched it in time. 

Mrs. Gibbs. Most burnt it up, didn't ye? 

Caleb. Ye hain't seen nothin' o' my best galluses, 
hev ye? {going r.) 

Mrs. Gibbs. No, I hain't, but I'll look for 'em. 
Come now, pa, do hurry. 

Caleb, (at door, shivering) It's awful cold in there. 

{Exit, r. c.) 

Mrs. Gibbs. Land of the living ! I must have that 
room fixed up agin for the girls. 

( Crosses to l. 2 e. , and exits. Knocking at door up R. C.) 

{Enter Hattie and John up R. c.) 

Hattie. Come in. I always do when they don't 
hear me knock, {going to fire) My, ain't it cold? 
(fussing with wrap) Why don't you help me off with 
this? You don't act the least bit as though we'd been 
engaged. 

John, {helping her) I can't say that you do either. 

Hattie. Well, you see, when a girl is almost born 
engaged, when she's brought up engaged, when she gets 
to be a woman engaged, and when she hasn't all her life 
been anything else but engaged it gets to be an awful 
sameness, (puts wrap on table) 

John, {warming his hands) I noticed that, too. 



THE VILLAGE POSTMASTER 41 

Hattie. {coming back to armchair) Of course you 
did. You're a sensible chap, that is, sometimes ; all 
times, excepting when you're thinking of Miranda Hug- 
gihs. Then you seem to get in the clouds. 

John. I could not talk to her while our engagement 
lasted. 

Hattie. (sitting in chair r. of table) I suppose not, 
but now that we have agreed to disagree, or rather we've 
agreed to disengage ourselves, i know you will be happier, 
for I know, and have known for a long time of your love 
for Miranda, and now that we are not going to be mar- 
ried, I like you ever so much better than I did before, 
and I am going to help you with Miranda. 

John, {approaching Hattie) You will ? You're a 
dear, good girl. 

Hattie. Yes, I know all about that — {going to door 
at back r. c. ) but don't let that poor old horse freeze to 
death out there. Put him in the barn and hurry back. 
(John exits up r. c. Hattie goes to door l. 2 e., and 
calls) Mrs. Gibbs ! Mrs. Gibbs ! Mrs. Gibbs ! {goes 
r. c. Enter Miranda, r. 2 e.) Why, Mirandy. 
{kisses her, then pauses and looks) Why, what's the 
matter ? 

Miranda. Nothing, Hattie — nothing, {crossing l.) 

Hattie. Yes, there is. Why, you look so worried. 
{crosses c.) 

Miranda. Do I? I suppose I'm a little tired. I've 
been helping Mrs. Gibbs. 

Hattie. {putting her arm around Miranda) Guess 
who's here? {pause) John. 

Miranda, {calmly) Oh, indeed, {goes l. and up) 

Hattie. {aside) Am I wrong ? {to Miranda) Yes, 
he'll be back very soon. 

Miranda. It is a long time since I saw John ; only 
once since the training, {coming down to R. of table) 

Hattie. You see, he's been teaching over at Weed 
Center. 

Miranda. Yes, I know. 

Hattie. {goes r. and back again) And he's been 
to Boston about his new invention, something or other 



42 THE VILLAGE POSTMASTER 

to make a threshing machine feed faster — oh, John's a 

genius, (at c.) 

Miranda. Yes, he is very smart, {crosses r.) 
Hattie. (l. c.) Smart? Why, he's the smartest 

chap around these parts, and just as good as he is 

clever. 

{Enter Mrs. Gibbs, l. 2 e.) 

Mrs. Gibbs. Why, Hattie, how d'ye do? {kisses 
her) 

Hattie. Mrs. Gibbs — I 

Mrs. Gibbs. Come right in the spare room. So glad 
you come early. Got lots to tell you before the other 
girls get here, (takes Hattie' s wraps from large chair 
up L. and leads her off L. 2 e. as John knocks at door. 
Miranda goes toward door and meets John as he opens 
it then comes down L. with suppressed agitation) 

Miranda, (opening door) John ! (returns) 

John, (following her) You didn't expect me here? 

Miranda. Well, no, that is (turns from him 

down c.) 

John. It's a very cold night, but warm and cheery 
enough in here. I don't suppose I ought to have come, 
because I'm not in the Church, but Mrs. Gibbs invited 
me, and — well — I did, that's all. 

Miranda (crosses to r. c.) Sit down by the fire. 
The others will be along now soon, (starts r. 2 e.) 

John, (springing after her) Mira ! — you don't mind 
me calling you that, do you ? It was the name I gave 
you when you were little. You remember I used to say 
Miranda was too big for you. Do you mind ? 

Miranda. No, John, I don't mind, (starts to r. 2 e.) 

John. Wait, don't go. It's so long since I had a 
chance to speak to you. Only once since the training. 

Miranda. Yes, you've been away. 

John. I've been teaching over at Weed Center, 
and — there have been other reasons. 

Miranda. I know there have been other reasons. 

John. Jim Pennel told me a while ago that Ben 



THE VILLAGE POSTMASTER 43 

Deane had been trying to poison you against me with 
some foolish story of Mary Barden. 

Miranda, (to him, very seriously) Is it a foolish 
stor.y, John? 

John. Why, Mira, can you ask me 

Miranda. It would be hard to believe it of you, 
John — whom I have trusted so much, (changing tone) 
But how about that friend of whom you spoke at the 
training, John — will he marry the girl he really loves ? 

John. Yes. There can be no opposition he will not 
overcome — no sacrifice he will not make. 

(Mrs. Gibbs calls Miranda.) 

Miranda (trying to conceal her feelings) I hope 
he'll be happy — very happy. 

John. Why, Mira, you will be the first to know of 
his happiness. You will be 

(Mrs. Gibbs calls again.) 

Miranda. I must go, John, I must (starts 

toward door) I will tell Mrs. Gibbs you are here. 

(Exit, L. 2 E.) 

John. She won't let me speak — she doesn't care for 
me. She was trying to spare me the humiliation of tell- 
ing me so. Oh, how blind I've been. 

(Enter Mrs. Gibbs, l. 2 e. Meets John.) 

Mrs. Gibbs. Why, John, I am glad to see you. 
Afraid you wouldn't git here at all. (cordial greeting, 
shaking hands, etc.) 

John. It was so kind of you to ask me to come. 

Mrs. Gibbs. (shaking hands) 'Twan't kind a bit. 
'Twas 'cause I wanted you. Land sakes, I'm just beat 
out and must sit down a minute, (sits l. of table L.) 

John. I was just thinking it would have been better 
not to have come to-night. 

Mrs. Gibbs. Why not ? 

John, (sitting in chair r. of table) Well, you 
see 



44 THE VILLAGE POSTMASTER 

Mrs. Gibbs. You're the son of the Methodist preacher. 
Wal, I'm a Baptist dyed in the wool, and I'm the wife 
of the minister, and I ain't goin' to bring no discredit on 
my persition if I can help it. But I kinder think there 
ain't any separate heaven for Baptists and Methodists, 
an' we might jest as well be gettin' used to each other 
right here. 

John. True, but that's not all. 

Mrs. Gibbs. Wal, what is it, John? You used to 
tell me things. You don't seem to any more. Time 
back I thought you set considerable store by Mirandy, 
but I suppose I was wrong, 'cause every one say she's 
engaged to Ben Deane. 

John, {anxiously) Do you think it's true? 

Mrs. Gibbs. {lays her hand on his) I hope, John, 
thet ain't troublin' you, 'cause her father's awful sot, and 
he's bent on this match. It's a pity he sets so much by 
money an' temporal things. He's got purty high notions 
for M'randy. 

John. There's nothin' between Miranda and me. 
(rises, goes up*.) 

Mrs. Gibbs. (surprised) There ain't? (rising and 
going L. c.) 

John, (returning) Why, no ! If she's made up 
her mind to marry Ben Deane, it's plain enough she 
doesn't care for me. If I thought she did I'd have her, 
if her father and the whole town came between us. 

Mrs. Gibbs. John, that ain't accordin' to yer Bible 
teachin', and the duty ye owe yer elders, but I reckon 
it's human nature. 

John. Yes, and I guess I'm about as human as any 
fellow in Bridgewater. As it is, I shall forget. 

Mrs. Gibbs. Then you did care for her ? 

John. Did I say so ? Young people have fancies ; 
sometimes they don't last. 

Mrs. Gibbs. John, I must say you s' prise me. I 
was thinkin' — wal there, old married folks like me don't 
always know as much as they callate they do. If you 
can forgit 

John. Oh, yes, I shall. But let me run out and set 



THE VILLAGE POSTMASTER 45 

that gate open for you. I thought I heard some one. 
(going up to door) 

Mrs. Gibbs. John 

John, (comes to her) There now, Mrs. Gibbs, 
you'd have people too happy in this world. They'd 
want to live right on here forever. There'd be no 
disciplining or getting ready for the next. 

Mrs. Gibbs. John, what are you talkin' about ? 

John. You. I don't know anything better to talk 
about, (runs out door r. c.) 

Mrs. Gibbs. He ain't contented, though. I ken see 
it 'cause I love him like he was my own son and my 
heart is a-y'arnin' after him, an' a-achin' to see him 
happy. His own mother's no support, one of them 
limpsey sort thet's alius wantin' to be held up by other 
folks, (sadly) If he'd only been my son, but the good 
Lord never sent me a son. (l. c, dashes away a tear. 
Enter Caleb, r. 3 e., dressed but carrying his stock in 
his hand) Pa, come here quick. Now give me your 
stock, {takes stock) 

Caleb. Now you've got thet upside down. I'll hev 
to stand on my head to wear it thet way. 

Mrs. Gibbs. (ad lib., if stock is not tied at end of 
dialogue. When stock tied) Say, pa, Eb Todd hasn't 
got anybody to tie his stock for him. 

Caleb. Thet's so, Hanner, thet's so. (ready sleigh 
bells) Let me look in that looking-glass. 

Mrs. Gibbs. No, no, you sit down there and let me 
fix your hair, (sets him in chair, he bumps his elbow, 
she goes to glass and returns with brush) 

Caleb. Now, ye bumped my crazy bone. Now, 
Hanner, my hair 

Mrs. Gibbs. Your hair is as full of snarls as the life 
of a politician. 

Caleb. You're pulling every spear of it out. (put- 
ting tallow on boots) 

Mrs. Gibbs. Now, be gettin' off your boots while I 
get the others. 

(Exit, L. 2 E.) 



46 THE VILLAGE POSTMASTER 

{Sleigh bells outside.) 

Caleb. I'm dreffel afraid them thin shoes'll give me 

rheumatiz. Wal, ef I must, I must {pulls off 

boots) It's goin' a leetle too far when a man can't wear 
boots at a donation party. There they be ! {throws 
down boots) 

{Enter Mrs. Gibbs, l. 2 e., with Congress gaiters.) 

Mrs. Gibbs. Now, pa, do hurry, (takes boots and 
exits l. 2 e. ) 

Caleb. Wal, I am hurryin' just as fast as I can. 
{noise of people outside. "Whoa there." Sleigh bells , 
laughing, etc. Knock at door) Christopher Kewlum- 
bus ! They're comin'. {with one shoe half on) Han- 
ner, they're comin'. 

{Enter Mrs. Gibbs, with galluses, l. 2 e.) 

Mrs. Gibbs. Pa, here's yer galluses. (Caleb stump- 
ing up r. , with one shoe half on and carrying the other, 
taking galluses from Mrs. Gibbs as he goes. Exit, 
r. 3 e. Mrs. Gibbs closes door after him and opens 
door r. c, returning c. Women come first, Samantha, 
carrying bundles, followed by Toner, bandanna tied over 
his hat, bag under his arm. Two men with ha?n and 
bacon. Jim with sack. Eben. with turkey. Tom with 
a live pig) Why, howdy do, Miss Toner, Miss Blake, 
Miss Bean ? Real glad to see you. 

All the Women. Howdy do, howdy do. 

Letitia. Snowin' real hard. 

Mrs. Gibbs. Ladies, go right in the spare room 
and take off your things, {pointing l. 2 e. Women go 
off l. 2 e. ; men r. 2 e.) Gentlemen, you go in the 
kitchen, {pointing to r. 2 e. Enter Huggins, r. c.) 
Howdy do, Mr. Huggins? Hope yer well. 

Huggins. Purty fair, Mis' Gibbs, and wishin' you the 
same. How's the elder ? 

Mrs. Gibbs. Real smart, thank ye. (Huggins exits 
R. 2 e. Enter Deane and Samantha, up r. c. Deane 
follows Huggins off r. 2 e.) Samanthy, go right in the 



THE VILLAGE POSTMASTER 47 

spare room. (Mrs. Gibbs takes off apron and lays it 
over chair l. u., coming back to meet Mr. Gibbs, c. 
Exit Samantha, l. 2 e. Enter Mr. Gibbs, l. a e.) 
Wal/ Charles, I'm glad you've come, (gives a touch to 
his necktie, brushes a speck off his coat and looks him 
over) Now, don't let them men get into poly ticks. 
Some one's sure to get het up. 

{Men on entrance remain R. Mr. Gibbs receives them.) 

{Enter Huggins and Deane, r. 2 e.) 

Mr. Gibbs. I'll do the best I can. (meeting the men) 
How do you do, Mr. Huggins? Glad to see you. 
(enter Toner and Tom, r. 2 e.) And Mr. Deane and 
Mr. Toner, (shakes hands all around. Tom leaves the 
group of men and goes up to fire, wanning his hands 
and rubbing his ears) 

Huggins. (to Mr. Gibbs) Hope I see you well? 

Mr. Gibbs. . Quite well. 

(Enter girls, l. 2 e., except Samantha. At the same 
time Jim, the other two men and Eben. enter R. 2 E. 
Girls bring on slippers not wrapped, but concealed. 
Letitia brings Samantha' s with her own and hides 
them with hers and Hattie's under table cover. 
As Tom goes up c. he encounters Toner, circles 
around him and bumps into Eben. Then he stands 
warming himself at fire.) 

Huggins. Hain't seen ye since I got back from 
Concord. 

Mr. Gibbs. I believe not. 

Huggins. Whigs is feeling purty streaked over the 
'lection. 

Mr. Gibbs. I suppose so. 

Eben. (to Huggins) Did you see Mr. Pierce ? 

Huggins. No, called twice but he wasn't in. Ought 
to writ him I was comin'. Thet's what I ought to 'a' 
done. 

(Group of men R. turn slightly up stagt.) 



48 THE VILLAGE POSTMASTER 

(Enter Louisa, r. 2 e., with large tin pail, rushing 
toward L. 2 E.) 

Mrs. Gibbs. {coming down l.) Lowizy, what are 
you doin' with the pail ? 

Louisa, (speaking rapidly) Mis' Sloper's bag broke 
open and there's more'n peck o' white beans in the spare 
room bed. 

Mrs. Gibbs. Land o' the livin', shake up the feathers 
good when you get through, (turns to women and 
talks) 

Louisa. Yes'm. (starts quickly towards. 2 E., when 
Tom suddenly gets before her and falls down, causing her 
to fall over him, making a great clatter with the pail. 
Huggins is talking so excitedly he doesn't notice the 
fracas, and Louisa, being on top, improves the opportunity 
to give Tom a good cuffing and pounding. Girls laugh- 
ing, Mrs. Gibbs protesting) There, I can't help it if I 
am in the preacher's house; I alius said you'd get it yet. 
(goes quickly to l. 2 e. Tom after her. She runs off, 
partly shutting the door and sticking her head through 
the opening) Can't come in here. Ain't no men nor 
boys 'lowed in. (shuts door in his face) 

Tom. Ain't, eh? Wal, I'm coming bald-headed. 

(Tom picks up a pillow fro?n chair near door, pulls door 
open and dives his head in first, flies into the face 
of Samantha, who is coming out, and almost knocks 
her down. She gives a little scream, then seeing it 
is Tom, seizes him by the ear, walks him down to 
R. 2 E., where there is a chair, and sets him down 
hard. Mrs. Gibbs closes door l. 2 e., and picks up 
pillow.) 

Samantha. There, Thomas Jefferson Huggins, if 
you're heard from again for the next hour, you'll go home 
quicker than scat. 

Eben. Feelin' kinder raspy, ain't ye, Samantha? 

Samantha. Wal ! (goes over and sits in chair r. of 
table. Mrs. Gibbs sits in chair l. of table. Men down 
R. again) 



THE VILLAGE POSTMASTER 49 

Mrs. Gibbs. My ! Samantha, that boy's a trial, isn't 
he? 

(John enters from outside up r. a, and exits r. 2 e., 
slapping Tom on the head as he passes him.) 

(Caleb enters r. c. Mr. Gibbs goes up c.) 

Huggins. (excitedly) I say Bridgevvater's got to be 
considered. Yes, sir. It's got to be considered. 

Samantha. {looking at the men) Land o' the livin' ! 
Are them men at it again ? 

Mrs. Gibbs. Yes. If I only knew how to stop 'em ! 

Samantha. (with decision) Callate I know, (ad- 
vancing toiuard men) 

Huggins. An' I say it agin, the Constitution 

Samantha. Seth Huggins, is this a corkus meetin' or 
is it a donation party to the minister's ? There's some 
ladies here that would like to speak a word to Elder 
Gibbs, if you can let up on the Constitution for a spell. 

Huggins. (meekly) Why, certainly, Samanthy, alius 
give way to the ladies ; why, certainly ; don't we, gen- 
tlemen ? 

Men. (all in chorus) Why, certainly. 

(Men all subside quietly into chairs except Mr. Gibbs, 
who remains standing. Huggins sits down r. i e.) 

Samantha. Mr. Gibbs, the ladies hez each some lit- 
tle remembrance made special for yer. Here's mine. 
(takes slippers from Letitia. Gives them to Mr. 
Gibbs) 

Mr. Gibbs. (c., graciously) Thank you. Miss Hug- 
gins. Your own work, I suppose ? (Samantha nods) 
I shall wear them with pleasure. 



(Samantha goes down l. to Mrs. Gibbs and Miranda.) 

ns. (to Eben.) She got them down t( 
paid for them nuther. 

(Hattie prese nts a pair of slippers.) 



Huggins. (to Eben.) She got them down to the store 
and ain't paid for them nuther. 



50 THE VILLAGE POSTMASTER 

Mr. Gibbs. Ah, Miss Burley, how thoughtful ! Now 
I shall have two pairs. {Enter John r. 2 e., goes up 
c. and is met by Hattie. Letitia presents a pair) 
Really, I'm going to be well shod at any rate. (Letitia 
goes over to Samantha l. The other girls go back 
up L. Another pair) Thank you, Miss Blake, so 
kind, {another pair) Really, I'm overwhelmed, (an- 
other pair) 

Eben. Kind of a slippery day. 

(Tom laughs loudly. Huggins slaps ears and goes up r.) 

Mr. Gibbs. Very good, I'm sure, {another pair) 
Ah! 

(Gasping. Tom laughs during slipper bus. Tom com- 
mences to laugh after the third pair. Huggins 
rises, pinches his ear and he goes up into the corner 
and sulks. After the last pair, Mrs. Gibbs and 
Miranda unload him. Miranda crosses and closes 
door r. 2 e.) 

Letitia. (to Samantha) Wal, I declare, Elder 
Gibbs seems quite overcome with that expression o' 
feelin' on our part. 

Samantha. So he does. The good man is so easily 
teched. 

Tom. (disgustedly. Down r. to Miranda, who is 
standing near him) He ain't teched neither. He's 
mad clean down to his heels. 

Miranda, (in dismay) Tom, hush ! What an 
awful boy you are. 

Tom. Wal, wouldn't you be mad if you was him? 
How would you like to be took for a thousand legged 
worm ? If it 'ud be me, I'd up and throw them slippers 
at 'em all ker swash. 

(Samantha makes signs to Tom across stage.) 

Miranda. Oh, Tom, do please keep still. Aunt 
Samantha's looking this way, and you'll get sent home 
sure's you're alive. 



THE VILLAGE POSTMASTER 51 

Tom. Get me a doughnut — I'll be quiet. 

(Miranda goes off and returns with doughnut which she 
' gives to Tom. He sits down r. c, and eats during 
Huggins' speech.) 

Huggins. {with importance. Approaching Mr. 
Gibbs and clearing his throat loudly) Mr. Gibbs, the 
trustees of the Bridgewater Baptist Church an' the dea- 
cons of the same hev constituted me their representative 
an' — {hesitates for a word. Finds it on cuff) ambassa- 
dor to herewith present you with a substantial token of 
their support an' recognition. Hopin' that yer ardor 
may increase an' multiply, especially your visits to the 
sick, indigent and unconverted, I herewith present you with 
said token of our esteem and valuation, {hands en- 
velope with wax seal to Mr. Gibbs and returns to place) 
An' may the Lord go on abundantly blessin' your labors 
among us. 

Eben. Amen ! 

Mr. Gibbs. {taking packet) Mr. Huggins, brethren 
and sisters, I thank you most sincerely for this kind ex- 
pression of your good will. 

Eben. Amen again. 

(Mr. Gibbs turns away, opens paper and people talk in 
groups.) 

Mrs. Gibbs. {coming up to Mr. Gibbs) How much, 
Charles ? 

Mr. Gibbs. (a, disappointedly) Only forty dollars 
— to last till spring. And I did want you to have that 
shawl, Hannah. 

Mrs. Gibbs. (a, cheerfully) Nevermind, Charles: 
I don't want it no more'n a cat wants two tails. I'm 
goin' to dye over the old one and it'll look just as good 
as new. It'll be warmer'n a new one, too, 'cause dyein' 
alius thickens 'em up drefful. 

(John overhears Mr. Gibbs, and taking a bank-note 
from his pocket, hands it to Miranda as she 
comes up.) 



52 THE VILLAGE POSTMASTER 

John. Don't say anything. Just give it to Mrs. Gibbs 
without telling, will you ? 

Miranda, {taking it) Yes. 

(John returns to Hattie.) 

Mrs. Gibbs. Come, now, let's have some singin'. 
Come, M'randy, come all on ye. Come, Eb, don't you 
sing? 

Eben. Wal, I used to, then tunes come in fashion 
an' I quit. 

{They all gather round melodeon. While they are doing 
so Miranda place s the money in Mrs. Gibbs' hand.) 

Miranda. From a friend. I wasn't to tell. 

Mrs. Gibbs. Now, look here, M'randy 

Miranda. No, it isn't me. Honest. 

Mrs. Gibbs. What'll we sing? 

Miranda. Let Polly Blake sing " Nettie Moore." 

Mrs. Gibbs. Miss Blake, won't you sing " Nettie 
Moore ' ' for us ? (organ prelude) Sit down, Eb ; Miss 
Blake is goin' to sing "Nettie Moore." {they sing 
"Nettie Moore") Wal, now let's have "Peter, Peter." 

{All sing.) 

Samantha. Now, girls, bring in the refreshments. 
Boys, you must help. 

{All go off r. 2 e. except Samantha, Huggins, Caleb 
and Deane. Caleb sits again, dreamily watching 
the fire up c. Deane and Huggins pause to speak. 
One of the men arranges the chairs R. for the fol- 
lowing business as he goes off.) 

Eben. {looking off r. 2 e.) Guess I ain't wanted 
amongst that flock of hens. I'll go and attend to the 
turkey. 

{Exit, r. 2 E.) 

Huggins. Wal, Ben, ye seem to be gettin' on with 
M'randy. Ain't losin' any time. 



THE VILLAGE POSTMASTER 53 

Deane. Don't calculate to. 

(Exit, R. 2 E.) 

Huggins. Good, straightforward, honest boy ; 1 like 
him. 

(Tom comes back first with a piece of pie and glass of 
lemonade on a plate, sits down r. i e. Eben. fol- 
lows with the same and sits next to him. As he 
drinks Tom slips his pie away, and when Eben. 
misses it, Tom holds it out of sight with his right 
hand, eating the other piece out of his left and looking 
very innocent. Letitia, John, Hattie and Toner 
enter with one table, taking it up R., followed by 
Jim, with pail of lemonade, and four girls with 
another table. Mrs. Gibbs with pot of coffee. 
Caleb comes over to table with bandanna under his 
chin.) 

Caleb. Don't see any beans. More nourishment in 
beans than there is in steak. (Sees plate of pie in Sa- 
mantha's hands) Mince pies — hope they didn't put 
enny sperit in 'em, Hannah ; we ought to be lavv-abidin' 
folks. 

Mrs. Gibbs. No, pa, there ain't anything stronger 
than cider in 'em. Sit down and let me give you suthin'. 

(Caleb returns to armchair. Miranda goes over and 
sits r. of door l. 2 e. Deane brings her refresh- 
ments and stands by her until Louisa's song is fin- 
ished. Louisa enters l. 2 e., and sits down l. i e. 
Hattie and John go over to table l., with refresh- 
ments, she sitting r., and John back. Huggins sits 
next to Caleb down stage side. Mr. Gibbs r. of 
mantelpiece. All the girls except one, who remains 
down R., cross to L. u. E., with refreshments. One 
of the girls takes something over to Louisa. One 
man follows them, the other sits up r. Mrs. Gibbs 
takes plate with lemonade, etc., to Caleb. Also to 
Huggins, then fills cup with coffee, offers it around 
and gives it to John. Toner up l., getting refresh- 



54 THE VILLAGE POSTMASTER 

ments for himself and Letitia. All this business 
goes on during the following speeches, etc.) 

Samantha. (Jo Eben.) Now, do hev some more of 
thet pie. 

Eben. {taking a piece) Dunno but I will, (speak- 
ing to her over his shoulder) Young folks seem to be 
enjoying it, too. (turns back in time to see Tom in an 
effort to steal his pie) 

Samantha. (sitting next to Eben.) Yes, they be. 
It makes me think of them verses : 

" Gay hopes is theren, by fancy led, 
Least pleasin' when possessed, 
The tear forgot as soon as shed, 
The sunshine o' the breast." 

I alius thought them lines wuz real affectin'. 

Eben. So they be, Miss Samanthy, so they be. Them 
are verses that strike home to a lone bachelor like me. 
Did it ever come to you how lonesome a bachelor might 
be? 

Samantha. I dunno's it ever did, Mr. Todd ; dunno's 
it ever did. (while Eben. is listening to Samantha, 
Tom steals pie. He sees his plate empty, gets up and 
goes again to table R. Tom eats voraciously from the 
three pieces at once. Samantha rising) Land, look at 
that boy ! (goes around and knocks Tom in the back, 
Jerking pie out of his mouth) Thomas, do you want to 
kill yourself? Lay down thet pie this minit. (taking 
plate away from him) Hev ye forgot what ye learned 
in Sabbath-school about the Prodigal Son and riotous 
livin' ? Don't you touch another thing. I don't callate 
to be up all night with you ef I kin help it. (puts plate 
on table and offers another plate of refreshments to Mr. 
Gibbs up l., which he takes. Mr. Gibbs sees Tom pout- 
ing down R., comforts him and gives him another piece 
of pie) 

Eben. Miss Samanthy ! (another attempt to steal 
pie) Another doughnut, please. 

Mrs. Gibbs. Lowizy, won't you sing that song you 
sung for us down to the quiltin' ? 



THE VILLAGE POSTMASTER 55 

Louisa. No, ma'am, I don't want to. 

Mrs. Gibbs. Mr. Huggins, you ask her. 

Huggins. {coming c, and calling Louisa, who goes 
c. 'to him) Don't tell any one, because they'd all be 
down there, but if you'll sing that song you sung for them 
down to the quiltin' I'll give you one of them long sticks 
of red and white candy that ye like so much, next time 
ye come down to the store. 

Louisa, (a, pleased) Will you? AH right ; I'll 
sing it for you. 

Tom. {coming a) No, don't let her sing. I want 
to do a step. 

Huggins. I'll step on you if you don't set down. 

(Tom sits down precipitately. Louisa makes a trium- 
phant face at him, which he returns. She then makes 
an old-fashioned bow to the audience drawing right 
foot back, and commences her song. After song 
Eben. is holding Samantha's hand tenderly.) 

Samantha. Wal, now, it's half-past nine and I think 
it's about time to go home. 

( Women go off l. 2 e., and men R. 2 e.) 

Huggins. Yes, so do I, Samanthy, after thet 

{points to the two holding hands) 

Samantha. {assuming dignity) Seth Huggins, ye 
want to recollect some one's got to set an example 'fore 
Thomas and Mirandy. {to Mrs. Gibbs.) Hope you 
won't all git beat out clearin' up. 

Mrs. Gibbs. Oh, I guess not. 

(Exit Samantha l. 2 e. Other women come out L. 2 
E., with wraps on, saying good-night to Mrs. Gibbs. 
The men come out r. 2 e., and shake hands with her 
and exit with the women up r. c. Mr. Gibbs puts 
on his hat and goes off with the last men.) 

Caleb. Now, Hannah, let me help ye a little. 
Mrs. Gibbs. Pa, you set right down. You've been 
under my feet all evenin'. 



66 THE VILLAGE POSTMASTER 

( Women all on and off up r. c.) 

Toner, (coming on from r. 2 e.) Good-night, Mrs. 
Gibbs ; hev ye seen Letishy ? 
Mrs. Gibbs. She's jest gone out. 
Toner. Cracky ! Letishy ! etc. 

(Exit up r. c.) 
(Enter Eben. from r. 2 E.) 

Eben. Good- night, Mrs. Gibbs. 

Mrs. Gibbs. Good-night, Eb. Hope you hed a good 
time. 

Eben. Yes, had a delicious time. I'll come again 
(Caleb looks disgusted), and bring my bed. (moves up 
stage a little and waits) 

Mrs. Gibbs. Eb, was you waiting for some one ? 

Eben. Wal, I jest thought I'd sort o' stay around 
till Miss Samanthy got on her mantilly. 

Mrs Gibbs. Well, here she comes now. 

(Enter Samantha, l. 2 E.) 

Samantha. Guess I'm about the last one to go. 
Good-night, Mrs. Gibbs. 

Mrs. Gibbs. Good-night ; hope ye hed a good time. 
Samantha. Oh, yes, had a fine time. 

(Samantha and Caleb talk.) 

Eben. (interrupting Samantha and Caleb) Miss 
Samanthy, I s'pose I couldn't see you home, could I? 

(Caleb plucks at Samantha's wrap.) 

Samantha. I s'pose you could. 

(Exit together r. c, Eben. giving Caleb a triumphant 
punch in the ribs as he goes off. Tom comes on R. 
2 E., blowing string from his cap out of his eyes, 
Louisa l. 2 e., yawning and rubbing her eyes. 
They bump together c, then quarrel, strike at fach 
other c, Mrs. Gibbs protesting. Louisa bawls as 
she goes off, and Tom follows pointing his finger at 
her.) 



THE VILLAGE POSTMASTER 57 

Tom. Cry baby, cry baby ! {steals pie from table 
and exit quickly up r. c. Mrs. Gibbs follows Tom to 
door with exclamations y " Thomas Huggins" etc. Com- 
ing down to Caleb) 

Mrs. Gibbs. What an awful boy 1 

Caleb. Oh, he's a terrible critter. 

(Mrs. Gibbs takes apron from chair l. u. E. and candle 
from organ.) 

Mrs. Gibbs. Come, pa, it's time to go to bed. 

Caleb. Wal, I don't see why I got all dressed up. 
Nobody noticed me. 

Mrs. Gibbs. Did, too. I saw Samantha look at you. 
{during these speeches Miranda enters from l. 2 E. and 
puts cape on table) Miranda, your father' 11 be along 
pretty soon now. Come, pa. 

(Caleb yawns and stretches and exits with Mrs. 
Gibbs, r. 3 e.) 

Miranda. I wonder if father's getting up the sleigh. 
I want to get away to be alone, {she goes up to window 
and looks out) John with Hattie ! Oh, how happy 
they look. She loves him and he loves her. I ought 
to be glad they're happy, (weeps — hears sound outside. 
Looks out) Why, he's coming back. He shall not see 
tears in my eyes. He might think I cared. I would 
die before that, (brushes away tears and pretends to be 
arranging furniture as John enters r. c.) 

John. Mira, I thought I should never get a word 
alone with you. I am determined and must speak now. 

Miranda. Not now, John. I know what you're go- 
ing to say and I can't hear you. I — I am very glad and 
I am very happy — oh, yes, very happy. 

John. You are sure you are very happy ? 

Miranda. Yes, why not ? Hattie is waiting for you 
— you shouldn't keep her out there — good-night, John — 
good-night. 

(John goes toward door r. c. ; when near door he stops 
and looks back. Miranda has turned away and 
her eyes fill with tears.) 



58 THE VILLAGE POSTMASTER 

{Enter Huggins, r. c.) 

Huggins. (coming down) Come, M'randy ; get on 
yer things. The sleigh's here, {seeing her face) Why, 
what's the matter ? Yer cryin' ? 

(John who was about to exit pauses at this and 
turns) 

Miranda. Oh, no, father, no. 

Huggins. Yes ye be, Mirandy. Something is the 
matter. Ye never lied to me in yer life ; ye never de- 
ceived me ; don't begin now. (turns and sees John) 
It's you, that's it. (starts toward John) It's you ! 

Miranda, {quickly) No, no, father. It's not John. 
He — he's nothing to me. (takes up her wrap and be- 
gins putting it on with nervous y trembling hands) 

John, (sadly — aside) Nothing — nothing. 

(Exit, r. c.) 

Huggins. Come, Mirandy. 

Miranda. Yes, father, (suddenly staggers against 
chair, partly sinking into it) 

Huggins. Why, Mirandy, yer ain't goin' to faint ? 

Miranda. I'm not feelin' well — I (struggles to 

her feet) 

Huggins. (taking the hood from her and gently 
putting it on her head) That's so. Yer all tired out, 
ain't ye? Come home, Mirandy — come home, (puts 
arm around her, supporting and almost carrying her up 
R. C. Sound of sleigh bells and singing outside as the 
others drive off) 

SLOW CURTAIN 

(Business for *' Peter Peter ") 

(All seated except Deane who is leaning over Miranda's 
shoulder r. c. and the singers around organ l. u. e. 
Eben. stands down r. i e. for a feiv measures, 
beating time, then sits down next to Sanantha, 
and Toner, after looking sheepishly around to see 



THE VILLAGE POSTMASTER 59 

if any one is looking, sits down on half of Letitia's 
chair l. i e., which she has been coquettishly offer- 
ing him. They keep up a half -pleased, half em- 
barrassed by-play. At the proposition to sing, 
Tom goes off R. 2 E. and brings on ajumping-jack 
and some long straws and sits down just back and 
L. of Samantha. As the music starts up Tom jerks 
his jumping jack. Samantha turns around, sees 
it, takes it aiuay from him, reproves him, and puts 
the toy on her chair. Before she is seated again, 
however, Tom slips it out and jerks it again. She 
again sees it, takes it away, scolds Tom and stands 
him up in the corner. Takes the jumping jack off 
r. 2 E., returns, sits down again and becomes ab- 
sorbed in conversation with Eben. Tom takes 
straw and tickles her left cheek. She scratches it. 
He tickles it again ; she brushes it and looks around. 
Tom whips around to Eben. and repeats the busi- 
ness on his right cheek. He looks around and Tom 
returns to Samantha, who sees him, snatches the 
straw away and both she and Eben. get him in 
the corner again and pummel him. This business 
should be planned to fill in the entire " Peter Peter. " 

{Business for " Met tie Moore ") 

{All sit down as before, remaining quiet until the chorus 
begins, the two couples R. and L. looking very con- 
tented and sentimental. As chorus commences, 
Eben. goes around back between Samantha and 
Tom and whispers in Samantha' s ear. Tom 
cranes around and listens. Eben. sees him, gives 
him a look and he retires. Then he takes the 
straw again and tickles Deane who is leaning 
over Miranda. As Deane looks around, Tom 
looks in the same direction and goes back to Saman- 
tha and Eben., who is still whispering in her ear, 
and blows a horn in their ears at the conclusion of 
song. Meanwhile during chorus Toner reaches 
his right hand under his left arm and gets hold of 
Letitia's left. She tries to withdraw it ; they quar- 



60 THE VILLAGE POSTMASTER 

rel, sit back to back, push and Toner goes on to 
floor at the conclusion of chorus. Tom goes off 
R. 2 e. and gets the pig, lets it loose on the stage 
just as the song is finished. Consternation of the 
ladies, while Tom chases and recaptures pig, carry- 
ing it off "r. 2 e.) 



THE VILLAGE POSTMASTER 61 



. ACT III 

SCENE. — The farmyard of Huggins. Entrance to 
house with vine-covered porch l. 2 E. Drop at 
back showing barn and country landscape. Simi- 
lar drops at sides meeting at corners, making pano- 
rama effect. Bam with door r. 2 E. Fence with 
gate from barn to R. U. E. Threshing machine R. C. 
Old-fashioned well with sweep l. Tree in front 
of it and bench under tree. Apples on tree. Cup 
hanging against well. Chicken coop against fence 
R. Straw stack R. U. E. Time, midsummer. 

Discovered : John feeding machine l. c. with back 
to audience. Man helping him on the other side. 
Tom leading horse round windlass r. c. Toner 
on top of stack r. u. E. pitching straw down to John. 
Jim r. u. e. pitching straw up to Toner. Deane 
coming on r. c. Girl with bundle crossing stage 
from r. to l. 2 e. Other girls feeding chickens 
up r. Machine going. After curtain is up Louisa 
enters L. 2 e., blows dinner-horn and goes up 
around back of stack to r. u. e. All stop work and 
start for the house. Tom and man take horse off 
r. 2 e., man returning immediately and entering 
L. 2 E. with the others. 

Toner, (coming down from stack) I tell ye, John, 
your feeder's a buster. 

John. Works well, doesn't it? 
Toner. Wal, I shud say. 

{Exit, l. 2 e.) 

Deane. (c., sneeringly) S'pose you hope to get rich 
out of your invention ? 



62 THE VILLAGE POSTMASTER 

John. Yes, if hard work will do it. Some folks have 
easier ways of getting money. I haven't yet learned to 
get mine by lying and cheating. 

{Bus. of Deane interrupted by entrance of Samantha, 

L. 2 E.) 

Samantha. Come, boys, dinner's ready. 

{Exit, l. 2 e. Exeunt John and Deane, l. 2 e. Louisa 
comes down L. Enter Tom, r. 2 e., whistling and 
skipping across stage to Louisa.) 

Louisa. What you goin' in fer ? 

Tom. Grub. 

Louisa, (l. c.) Wal, you needn't. You've got to 
wait. 

Tom. Who said so ? 

Louisa. Yer Aunt Samantha. 

Tom. Gee-whilliken ! 

Louisa. Oh, my ! I'll tell yer father you swore. 

Tom. I didn't. That ain't swearin'. 

Louisa. Oh, won't you git it ! 

Tom. Look here. You jest go tattlin* and I'll show 
you. 

{Makes a dive at Louisa; she runs around back of 
windlass down front and up under slide R. u. E., 
where she stumbles and Tom covers her with straw, 
she protesting, "I'll tell Aunt Samantha," etc., 
Tom imitating her. He climbs up ladder back of 
stack and slides down into straw R. u. E. and starts 
down c. as Samantha calls off. Louisa comes 
around stack to r. c.) 

Samantha. {off ~l. 2 e.) Lowizy ! Lowizy ! 

Tom. Sh ! Here's Aunt Samantha coming back. 
{running over to tree and climbing up) Don't tell her 
where I am. 

(Louisa picks up horn l. c. and runs back around 
stack.) 



THE VILLAGE POSTMASTER 63 

Samantha. {entering with pail, l. 2 e.) Lowizy, 
a' here be ye? You come here now and get a pail of 
water. If it ain't enough, {looking off l. while Louisa 
sneaks around L. and exits behind porch L. 2 E.) Lowizy, 
you come in the house this minute, and help wait on 
table. 

{Enter Eben., r. 3 e.) 

Eben. (up r. c. slightly) Howdy-do, Miss Huggins ? 

Samantha. {rather shortly) Howdy-do. 

Eben. {advances slightly) I wouldn't 'a' come jist 
when Mr. Huggins wuz so busy thrashing but ye see 
they want to see 'bout paintin' the blinds to the meetin' 
house. Some wants 'em a light green, an' others want 
'em dark, an' I knew they'd hev ter be jest as Mr. Hug- 
gins sed, so I come. 

Samantha. Yes, Seth is ruther put to it fer time. 
But ye had to ask him, cert'nly. (Eben. takes pail from 
Samantha, puts it down by well) Is that what ye 
wanted me fer ? 

Eben. {embarrassed) Wal, no — leastwise 'twan't all 

— 1 wanted ter sorter {takes hold of her hand in a 

diffident manner. Tom drops an apple on his head. Hi 
jumps violently) Windfall, by gosh ! 

Samantha. Now, if that ain't too bad for them 
apples ter fall off like that 'fore they're ripe. The 
blight's got into them, sure 'nuff. Wal, 'tain't best ter 
put our hopes on enny thing earthly. It makes me think 
o' them words : 

" So quick our transient comforts fly; 
An' pleasures only bloom to die." 

Eben. Thet's so, Miss Samanthy ; but ez I wuz goin' 
to say 

Samantha. Doesn't seem's if I ought ter stay out 
here a-gassin'. The thrashers are all in to dinner, and 
it takes a sight of work ter feed thrashers. 

Eben. Wal, ain't there M'randy, an' Lowizy an* two 
or three others ? 



64 THE VILLAGE POSTMASTER 

Samantha. Oh, yes, they're there. M'randy's spry, 
to be sure, an' a real likely girl, but that Lowizy — 
(shakes head despairingly) she's thet shiftless, I'm alius 
thinkin' o' that verse : 



" 'Tis the voice of the sluggard, 

I hear him complain, 
* You hev roused me too soon, 

I must slumber again.' " 

Eben. Miss Samanthy, you hadn't orter let things 
weigh on yer that way. You're too much of a care- 
taker. I'm 'mazin' 'fraid you're wearin' yerself into the 
ground. Set down a spell, can't ye? (she hesitates) 
Oh, come on, do. 

(Samantha sits down on bench. Eben. beside her at a 
respectful distance.) 

Samantha. (trying to appear resigned) I've alius 
been havin' 'nuff ter kerry. Now, there's Thomas ; he's 
an awful responsibility, an' sometimes I think I ain't 
meek 'nuff under the cross. (Tom lets down a big bug 
tied to a string, and dangles it in her face. Drawing it 

up quickly) Oh (jumps up screaming. Bench 

on end of which Eben. is sitting turns over, throwing 
him to stage. He scrambles to get up — gets up — looks 
very sheepish and says) 

Eben. Kind of a kerflummix, weren't it? 

Samantha. Never could trust that pesky bench. 

Eben. Well, I guess I won't trust that end of it again. 

( They sit together center of bench, looking lover like and 
bashful.) 

Samantha. Oh, yes, Thomas is a drefful responsi- 
bility. I dunno what would become of him if he didn't 
hev me ter look after him. I'm beginnin' to feel, though, 
thet my labors is bearin' fruit. (Tom drops an apple on 
her head) Mercy on me ! There is suthin' the matter 
with thet tree. 



THE VILLAGE POSTMASTER 65 

Eben. {making an effort — edging toward Samantha) 
Miss Huggins — Samanthy — do ye feel thet ye could bear 
up under another responsibility — could ye — {edging a 
little nearer) do ye think 

(Tom 7vorries Eben. with the bug during these speeches > 
hut keeps it carefully out of their sight until he lets 
it down again.) 

Samantha. Now, Mr. Todd, I hope ye haven't come 
ter ask me ter set up with enny more sick folks this 
week, 'cause I'm jest beat out with them thrashers an' 
the sewing circle an' the Sabbath-school picnic, an' 

Eben. No, no, Miss Huggins ; ye don't understand 
— I mean — wal, it's suthin' purty serious. I've been 
a-tryin' to say ter ye fer some time — I mean — I 
mean 

Samantha. {resignedly) Go on, Mr. Todd. I hope 
I'm willin' to trust, an' look to the right place for sup- 
port. I hope I've alius showed I wuz willin' to take up 
whatever 'Miction the Lord saw fit to put on me. 

" Why should this poor worm feel revolt 
At burdens laid on me? " 

Eben. Miss Huggins, if ye could only look with the 
same meek confidin' speerit toward 

Samantha. (very meekly) Why shouldn't I, Mr. 
Todd ? Why shouldn't I ? (Tom lets down bug) Darn 
that plaguey bug. 

Eben. Miss Samanthy, do you think you could con- 
sider me in the light of a responsibility, ye know — in the 
light of one who wa'n't ennywise worthy of ye, do ye 
think ye could — (Tom drops an apple very near his nose) 
consider me 

Samantha. {surprised) Mr. Todd ! 

Eben. Call me Ebenezer. 

Samantha. Ebenezer, this is a responsibility, no 
mistake. You've 'bout took my breath away. But 
there's Thomas 

Eben. Wal, now, Samanthy, won't ye 



66 THE VILLAGE POSTMASTER 

(Tom bears too heavily on the limb of the tree in his 
eagerness to listen, loses his balance \ shower of 
apples and twigs come down, while Tom hangs on 
the limb j dangling between Eben. and Samantha.) 

Samantha. {screaming, grabs the dangling legs) Go 
on, Mr. Todd, go on. 

Eben. (taking stage r.) No, I'm darned if I will ! 

Samantha. (to Tom) You come down, quick ! 
(very indignant. Tom drops and she seizes him by the 
collar) So you was up there a-listenin' to every word in 
spite of what you've learned in Sabbath-school 'bout 
Lot's wife an' Ananias an' Sapphiry. You come right 
into the house this minit. (walks Tom into the house 

L. 2 E.) 

Eben. (sitting disconsolately on bench at well r. c. 
Looking after her) Gosh — I dunno whether she's willin' 
or not. Don't seem to be much further along'n I wuz 
last harvestin'. But I guess she's a-softenin' a little — 
seems that way — yes, she seems to be givin' in some. 
(bus. of hat dropping doivn well. Enter Huggins and 
Deane from house L. 2 e.) Oh, Mr. Huggins. (rising 
and going c. Boius to Deane) 'Bout them blinds to 
the meetin' house. 

Huggins. (c.) You tell 'em to paint 'em a dark 
green ; none o' them light frisky yeller greens thet orter 
belong on a play-actin' house instead o' the abidin'-place 
o' the righteous. 

Eben. (going towards, u. e.) Thet's so, thet's so, 
Mr. Huggins. Ye want a nice sober bluish green — I 
know. Wal, I'll be a-movin'. 

(Exit up r., followed slightly by Huggins, who plucks 
a straw from the feeder, sits on windlass and picks 
his teeth. ) 

Deane. (to l. c., to Huggins) See you've got John 
Harper helpin'. 

Huggins. Yes, John's a good hand ; been inventin' 
a thing fer thrashing, ter feed faster. You can attach it 
to any machine. He thinks he's going to make lots o' 
money with it. 



THE VILLAGE POSTMASTER 67 

Deane. Hm ! 'Tain't likely. Does he hev much 
to say to M'randy ? (at bench l.) 

Huggins. Why, he's keepin' company with another 
girl. 

Deane. (with meaning) He ought to if he ain't. 

Huggins. Do you think thet's so — you know what 
we wuz talkin' 'bout? 

Deane. I know it's so. 

Huggins. {shaking his head doubtfully) I can't be- 
lieve it. But ef I wuz sure on it, he should never step 
foot on this farm again, (suddenly) There — by Jupiter ! 

— I forgot that tarnel pew door (calling off up r.) 

Ebenezer — Ebenezer ! (runs to R. ; when near entrance 
calls off) Hold on there; be ye deaf? 

(Exit, hurriedly, R. U. E.) 

Deane. (taking stage near seat) So, John Harper, 
you're trying to get into the good graces of the old man. 
Well, not if I know it. It won't be well for you to stand 
in my way. (turns R. and sees MARy. Enter Mary, 
r. 2 e. She comes down carrying a bundle of sewing. 
She starts slightly on seeing Deane) Where are you 
going ? 

Mary. (r. c.) In there. 

Deane. (l. c.) Are you doing work for her? 

Mary. Yes. 

Deane. (anxiously) Have you been there many 
times ? 

Mary. Well — suppose I have ? 

Deane. What have you told her ? 

Mary. Nothin'. Did you ever hear anything I'd 
said ? 

Deane. No, Mary— but 

Mary. Then why do you ask such questions ? You 
once said you liked the honor I had about such things. 
Do you think I lost that when I lost everything else? 

Deane. (half-ashamed) No, no, I didn't say that. 
(Mary starts toward house with bundle) Wait ; you 
don't want to go in there. The thrashers are all at 



68 THE VILLAGE POSTMASTER 

dinner. Leave the things with me. I'll give them to 
her. 

Mary, (turning back — half over her shoulder) What 
are you afraid of? 

Deane. (crosses c.) Nothin'. 

Mary, (turns, puts bundle on bench) Yes, you are ; 
you don't want me to see Mirandy Huggins. (comes to 
Deane, then speaks) Are you goin' to marry her after 
telling me you wasn't ? 

Deane. Wal, you see, I must keep in with the old 
man for a time yet — till after the election. 

Mary. That ain't answerin' me. Do you mean to 
marry her ? 

Deane. (impatiently) Haven't I told you no? 

Mary. Yes. (turns away) 

Deane. See here, Mary, you always wanted to live 
in the city. Suppose I take you down to Concord and 
get you a nice place where you won't have to slave at 
this (pointing to sewing) 

Mary, {forgetting herself) Oh, Ben, will you come, 
too? 

Deane. I couldn't just now — that is to stay. But I'll 
run down often to see you. Will you go ? 

Mary. No. You wouldn't come; you'd stay here 
and marry her. 

Deane. Now, look here; haven't I told you all I was 
doin' this for was to get what I want out o' the old man ? 
Folks have begun to ask questions about ye. 'Twon't 
be long 'fore you'll want to leave. (Mary looks at him 
sharply and turns up stage. Pause) Ye'd better go 
now. 

Mary, (firmly) No. 

Deane. Won't ye go when I tell ye I'm not goin' to 
marry her ? 

Mary. No. 

Deane. [complete change of manner) Mary, I never 
cared for any one but you, an' to prove I mean it — 
(pause) I'll marry ye to-morrow. 

Mary, (coming to him) Ben (as she gets to 

him, he quickly passes to r. c.) 



THE VILLAGE POSTMASTER 69 

Deane. {looking toward house) Be careful. Some 
one might see. You take the two o'clock stage to South 
Hempstead, and I'll run over to Weed Center and catch 
it there. We mustn't be seen to leave together. I'll be 
with you in Concord to-morrow night. Will you go ? 

Mary. Yes, yes. 

Deane. (writing in note-book) Here is the address. 
I always meant to make things right when I could. You 
know that. 

Mary. Yes, Ben, yes. 

Deane. Here is money for the journey. Remember, 
the two o'clock stage. There's no time to lose. 

{Enter John from house l. 2 e. Deane withdraws up 
r., watching John and Mary — waiting for the lat- 
ter — unnoticed by others. Mary takes up bundle 
again. ) 

John. Oh, Mary, I saw you from the window. Have 
you come from the house? 

{Enter Tom l. 2 E., takes apple from tree, feels of one 
and then another to see if they are ripe, walks quietly 
around stack, eating apple, climbs on top and hides 
in the hay. Enter Miranda from house l. 2 e. 
She sees John and Mary and pauses and watches 
them. Deane up stage r. watches them all.) 

Mary. Yes, and here is something for you. {gives 
him a letter.) 

John, {taking letter) Thank you ; you're always 
thoughtful, {crosses to r. c. Sits on windlass. Opens 
letter and reads. His face at last expresses surprise 
and pleasure.) 

Miranda, (l. c.) Oh, Mary, have you got them all 
done ? Come in and let me give you some tea ; you look 
so tired, {takes bundle and puts it on seat) 

Mary, {coming, — she desires to get to Deane) No, 
thank you — you're kind — but I — I can't. I've done the 
work the best I could — you'll remember that, won't you ? 
And you won't think hard of me whatever comes? 



70 THE VILLAGE POSTMASTER 

Miranda, Why, Mary, I — I don't understand 

{goes c.) 

Mary. No, no, perhaps not — but (sees Deane's 

warning look) Good-bye (hurries off stage R. 

u. E., joins Deane, and goes off quickly with him R. 
u. e. Miranda picks up bundle and starts toward 
house l. John c. and r. c.) 

John. Mira, — wait a moment, won't you? 

Miranda, (pausing) What is it, John ? 

John, (waving letter) News — that will interest you ; 
a letter from Hattie. 

Miranda, (coldly) Well ? 

John. She's going to Boston to be married. 

Miranda, (starting. Drops bundle) Married ! 

John. Yes. But, Mira — why does it surprise you so ? 

Miranda. Why — it — it — seemed kind of strange you 
could be so cheerful over it. 

John. I, and why not ? 

Miranda. Why, because — because — I thought you 
were going to marry her. 

John, (laughing) Oh, no, we were just good chums, 
that's all. We found that out some time ago. Why, we 
broke off the engagement that night of the donation 
party, {goes R.) 

Miranda. That night ! 

John, (c.) Yes, and now I shall be on hand for the 
wedding to wish the dear girl all the joy she can want, 
for I'm going down to Boston next week. 

Miranda, (to John, c.) To Boston? 

John. Yes. 

Miranda. To stay ? 

John. I hope so. I want to push the invention, you 
know. 

Miranda, (much affected) If it's good-bye then — 
I'll say it now, I — I must go in. (starts to houses.) 

John, (catching at her hand) Mira ! You don't 
mean that you care if — if I go ? 

Miranda. I — I was surprised, you know 

John. Speak, Mira — tell me — if I only thought you 
cared, (she turns away but still lets him keep her hand) 



THE VILLAGE POSTMASTER 71 

Listen. I don't suppose I should tell you this when 
you're promised to another, but if you never let me look 
at you again I must— I love you — I always have loved 
you — and I always shall. 

Miranda. John ! (she turns to him— they caress) 

John. Dear heart ! How happy you can make me. 
Mira, darling, (kisses her) 

Tom. (peering over top of stack) Ah -ha, I saw 
that, (bus . Tom slides down board, goes behind wind- 
lass. John goes down l.) 

Miranda, (quickly to Tom) Oh, Tom, don't say 
anything, please don't. 

Tom. (back of windlass) Are you going ter tell pa 
about them fish-hooks? 

Miranda. Well, that depends. 

Tom. Now see here, if ye keep mum about thet I 
won't say nothin'. (up stage R.) 

Miranda. Very well. Now don't forget, Tom. 
(turns to go) 

Tom. (turning quickly) An' them tame ducks I 

shot (Miranda turns quickly to Tom) Kinder 

by mistake, you know. Might as well put them in, 
too. 

Miranda. Oh, Tom, you said you were going to 
confess. 

Tom. All right; if ye don't want to throw in the 
ducks, I'll tell. 

Miranda, (exchanging look with John) Well, put 
in the ducks, but be sure and don't say anything. 

Tom. Now say, cross my heart— hope to die— so help 
me Moses. 

Miranda. Cross my heart— now run away— please. 
(turns up c.) 

Tom. (turning to John, leaning on windlass) What 
you goin' to gimme ? 

John, (approaching Tom) You young blackmailer, 
I'll tell you what I'd like to give you. 

Tom. What? 

John. A sound tanning for bothering your sister this 
way. 



72 THE VILLAGE POSTMASTER 

Tom. But you won't, though, 'cause then you'd be 
bothering her. 

John. True. As for myself I haven't the remotest 
objection to your telling all you can. I rather glory in 
it. I think your sister's the nicest girl in the whole state 
of New Hampshire ; so go ahead, do your worst, (going 
down l.) 

Tom. (gleefully) Jerusalem ! won't that be fun ? 
She'll be so tickled, won't she? 

(Miranda shows discomfiture.) 

John, (whistles) It's got to be blood money after 
all. Here, pirate, brigand, or whatever you are, what'll 
you take to be quiet ? 

Tom. How much you got? (comes from behind 
windlass to John, c. John, emptying his pockets, takes 
out two knives and some small change ; Tom looking them 
over) I'll take that knife and twenty- five cents. 

Miranda, (h.c.andh. Distressed) Tom! You 
make me ashamed of you. 

Tom. (r. c.) Wal, I feel awful 'shamed o' you, but 
I ain't sayin' nothin'. 

John, (handing knife and some money) Here Tom, 
don't let it cut our friendship. 

Tom. What ? 

John. That knife. 

Tom. (tries to cut a stick with it ) Cut friendship ? 
(going disgustedly toward k. 2 e.) That knife wouldn't 
cut nothin'. 

(Exit r. 2 E.) 

John, (c.) Mira, I shall come back in three months 
— but, Ben Deane — are you promised to him ? 

Miranda, (sitting on windlass) No, John. I've 
never promised, but father has set his heart on it. He 
will listen to nothing else. 

John. I shall ask him for you to-day, Mira. 

Miranda. He will be sure to refuse. 

John. What makes you think so, Mira ? What has 
he against me ? 



THE VILLAGE POSTMASTER 73 

Miranda. I don't think he has anything against you 
—how could he have— but he and Mr. Deane are great 

friends — and 

-John. And Ben Deane has influence and money. 
He is what they call a rising man— I know— while I 
—am a poor minister's son, a dreamer of dreams that 
fade out in the daylight; that never coin themselves 
into hard gold. But they shall. They shall come true. 
(Miranda rises from windlass and goes to him) With 
your face before me, your eyes smiling into mine— I 
shall work as I never worked before. What could not 
a man do with such an inspiration ? 

Miranda. John, I know you will succeed. I shall 
try to win father over— by degrees, you know. But I 
couldn't go against him. I never have, (crosses L.) 
Since mother died I have tried to take her place— she 
made me promise it when she was dying. You see it's 
a trust, John, {holds out her hands to him. Be takes 
them) 

John. And you have been faithful, dear, as you are 
in everything. But you will write me when I am gone ? 

Miranda. Oh, yes. 

John. I shall be thinking every minute of the time 
I shall come back for you. Dear heart, you will keep 
faith even if the time seems long— you won't forget 
(pus.) b 

Miranda, (l. c.) Never, John, never. 

(Enter Huggins, up r. ; he starts on seeing them, and 
his face darkens.) 

Huggins. (sternly, r.) Mirandy. 

Miranda, (starting and going down l. John up l. ) 
rather. r ' 

Huggins. (confronting John r. c.) As for you, 
sir, I took you to be at least straight an' manly in yer 
dealin s. I didn't suspicion ye wuz under-handed 'nuff 
to keep company with one girl while ye made up to 
another. I tell ye it's mean, sneakin', dishonorable. 

^•1° HN ' S C '^ I deny that rve been either mean or 
dishonorable. I am not going with any other girl. 



74 THE VILLAGE POSTMASTER 

Huggins. (r. c.) Air ye sure ye hadn't orter be? 

John. I don't know what you mean. I love Mi- 
randa as an honest man might. I meant to tell you this 
to-day and ask you for her. I ask you now. 

Huggins. Do ye realize that my girl hez got ter 
marry some one that can take care of her — some one 
that has some standin' in the community, and can keep 
her like she's been used to livin' ? 

John. It's true I haven't much money, or what you 
call standing, but my arms are strong and my courage 
isn't the kind to fail. With these I know I can make a 
place somewhere in this big world for Mira and me. 

Huggins. Wal, that's purty far ahead, an' I've got 
other ideas for M'randy. {starts l.) 

Miranda, {pleadingly) Father 

Huggins. Do ye care for him, M'randy ? 

Miranda. Oh, yes, yes. 

Huggins. {taking her face between his hands and 
looking earnestly into it) Ye do? {to John) See 
here, young man, if ye mean what's right and honor- 
able, start out and see what ye can do. {Enter Deane 
r. 2 e. and listens) The day ye come to me with a 
clean record, and the money to take care o' Mirandy — 
if she keeps on carin' fer ye — we'll see, we'll see. 

(Miranda embraces her father.) 

John, {takes Huggins' hand) I will come back 
and I'll have the means to make her a home. I shall 
work till I do, but I will come back. 

Huggins. Ye'll have to wait till then, {takes 
stage r.) 

(John goes up to feeder. Louisa and Letitia enter 
quickly with "Hello, Miranda," etc., and all 
girls go toward well talking. At the same time, 
Toner and Jim enter fro?n house crossing toward 
wheat stack.) 

Toner. That was a great dinner, Jim ? 
Jim. Well, I should say. 



THE VILLAGE POSTMASTER 76 

Toner. Miss Samantha makes the best custard pies 
of any one in this town. 

(By this time they have got up to the stack.) 

Letitia. Let's go up on the stack. 

Toner. Where yer goin' ? 

Letitia. Up on the wheat stack. 

Toner. Well, you mustn't go up there. Ye might 
fall down that feeder. If ye did it would be all day 
with ye. A man got cut to pieces that way over at 
Blake's last week. 

(Jim, Toner, Letitia and Miranda then ail taik to- 
gether.) 

Deane. (to John) So yer goin' to Boston with yer 
feeder ? 

John. Yes. 

Deane. Well, when you've made your fortune you'll 
think that the Bridgewater girls aren't good enough for you ? 

John. I don't care to discuss that matter with you. 

Deane. (aside) I'll fix him yet if I have to throw 
him in that machine. 

(Enter Huggins from house, talking as he crosses stage 
to c.) 

Huggins. Well, boys, we've thrashed pretty well 
down to straw now. Silas, you hitch up and go over to 
the east barn. You'll find a big load of sheaves over 
there. Bring 'em over and we'll thrash 'em out. 

Toner. All right, sir ! 

Letitia. Come on, girls; let's go over and ride back 
on top of the load. 

(Exeunt Letitia, Louisa, Jim, and Toner, r. 2 e. Mi- 
randa laughingly watches them off. At same time 
enter from house Samantha.) 

Samantha. (crossing to c.) Mirandy, I wish you 
would look up in that wheat stack. I believe there's a 
nest there. I heard that old speckled hen cackling and 
she wa'n't doin' that for nothin'. 



76 THE VILLAGE POSTMASTER 

(Huggins and Samantha go into house l., talking to 
each other as they go off. John looking over the 
machine starts it working. John is feeding the 
machine, and Deane, after looking off to see that 
he is not observed, says :) 

Deane. Now is my chance, (rushes at the machine, 
seizes John and tries to throw him into the feeder. 
They struggle down stage. John disengages himself 
and throws Deane down l.) 
John. What do you mean ? 

Deane. (rising) I come near falling into that 
feeder, didn't I? 

John. You came near throwing me in. 
Deane. You lie ! 

John. No, I don't, and you know it. Ben Deane, 
you got something against me and I'm goin' to get it 
out of you right here if I have to hammer it out. 

Deane. Well, I guess you will have to hammer. 
(During this scene Miranda has passed around back of 
wheat stack. Her head appears at top of stack at 
" You'll have to hammer." Deane strikes at John. 
John strikes back and knocks him down. Miranda 
is now at top of stack and sees the fight and ex- 
claims : "Oh, John /" Deane recovers, seizes a 
club and strikes John, who falls. Miranda screams. 
Deane rushes to barn for pitchfork. Miranda 
screams again and faints, sliding down feeder. 
John is up and runs to feeder in time to catch her. 
Other characters rush on from R. and l. at second 
scream and form picture for first curtain, as Tom, 
a/ho rushes over toward Deane, wrenches from 
him a pitchfork.) 

(For second curtain : Miranda is lying down c. ; Hug- 
gins supporting her head, while John hands him 
a cup of water. Tom crowds Deane down R. 
and has the prongs of pitchfork up to his face.) 

CURTAIN 



THE VILLAGE POSTMASTER 77 



ACT IV 

SCENE.— Interior of the village church at sunset ', show- 
ing body of churchy with organ, choir, and pulpit at 
back, with vestibule down front. Door r. i e. lead- 
ing to belfry, door l. i e. to road. Three aisles 
and two sections of pews. Three windows on each 
side, and between windows, bracket in which are 
three candles. From these brackets hang wreaths 
of flowers and festoons of evergreens, also branches 
of fruit blossoms. Same decorations in front of 
pulpit and choir gallery. Great branches of fruit 
blossoms, mostly apple blossoms, in vase on table in 
front of pulpit. The whitewashed walls and ceil- 
ing of the church are entirely plain, and undecorated 
save for the flowers and greens. A red light streams 
in through the window on one side. Time, May. 
Before curtain rises organ is heard and then sing- 
ing, as if for choir practice. Singing continues as 
curtain rises. 

Discovered : Girls and young men hanging flowers 
and greens, and arranging flowers on table. 
Letitia, r. c, is handing Toner, who is on a 
ladder, a wreath, which he takes and proceeds to 
hang r. over entrance. Jim, r. c, crosses L., and 
half-way up the aisle. 

Letitia. (r. and r. c.) A little lower, Silas, (he 
changes it) Thet's it. Now don't thet look cute? My, 
but M'randy's weddin's goin' to take the shine off'n 
everything thet's been in this meetin' house. 

Toner, {coming down from ladder, fixing a wreath) 
'Tain't enny too good for M'randy; but I can't say ez 
much for the groom. Somehow I never did set much by 
Ben Deane. 



78 THE VILLAGE POSTMASTER 

Letitia. {bus. with wreath) Lordy, Sile ! What 
ye talkin' about ? Ben's one o' the best matches round 
here. Ain't all the girls runnin' after him hard ez they 
kin pelt? Ain't jealous, be ye? 

(Toner comes over from ladder on this speech.*) 

Toner. Nary. Guess M'randy ain't the only girl in 
Bridgewater. {passes ladder off r. i e. ; gives Letitia 
a significant look, which she receives with blushes and 
confusion, whereat he squeezes her hand) 

Jim. (on l. h. side, bus. putting up wreath) S'pose 
Sile thinks ez I do, thet John Harper ought to 'a' been 
the one. Queer, his goin' away right after the threshin' 

— most a year now — an' never come back since- 

{Enter Eben., l. i e.) Wal, Bridgewater wa'n't big 
enough for him. 

Eben. {with old-fashioned lantern and keys. Look- 
ing about) I swan ! Ye hev made it look real nice, no 
mistake, {looking at his watch — a very large silver one. 
Toner takes coat from bench and gets his right arm into 
it, then stands listening) Land o' Goshen — did ye know 
'twas most time for the ceremony? Parson'll be here 
afore long. Ye'd better be a-scuddin' out. 

Letitia {arranging flowers) Wal, don't you git in 
a feaze. We couldn't put the flowers up afore; they'd 
got all wilted. 

Eben. Say, hev ye heard that John Harper's come 
back? 

All. {coming down stage) No. 

Eben. Yes. 

All. When ? 

Eben. This evenin'. 

All. Ye don't say. 

Eben. But I do say. Been doin' real well in the 
city; makin' money like dirt. I tell ye thet feller's got 
grit. I alius did think John was likely, an' I say it 
again — though I dunno's I orter — I can't help feelin' 
that it ought to be John Harper a-standin' up here this 
evenin' with Mirandy Huggins, instead o' Ben Deane. 
There you've got my 'pinion whatever it's worth. 



THE VILLAGE POSTMASTER 79 

Toner. Thet's the ticket. You're right, Eb. There's 
more'n you feelin' thet way. {tries to shake hands with 
Eben., but his coat slips down and Eben. can't find his 
hand. Boys and girls nod approval ; bus.) 

Jim. (l.) Ye know last summer when he saved her 
life, time she most got into the threshing machine? 
Why, any one could 'a' told they thought their eyes o' 
one another. 

Letitia. (r. c.) Wal, what did John go right away 
for? 

Toner, (r.) What wuz the use o' his stayin' 'round ? 
Wa'n't her father dead set agin it? He saw 'twa'n't any 
use. 

Letitia. (r. and r. c.) M'randy alius wuz under 
her father's thumb. If it had been me I wouldn't 'a' 
give in quite so easy, an' took up with Ben Deane. 

(Toner again squeezes Letitia' s hand.) 

Eben. I s'pose Seth Huggins thinks Ben Deane's a 
big man. 

Letitia. Say, girls, did ye see Hattie Burley when 
she came in on the stage to-day ? 

Toner. No. 

Letitia. She's Mis' Trombley now. Married a rich 
man down to Boston, an' puts on heaps o' style. 

All. (in chorus) Ye don't say. 

Letitia. Yes. She's come up to visit her Aunt 
Bostwick, an' ye ought to see the mantilly she hed on. 
Some o' the girls wuz so took with it they were there to 
git the pattern of it before she could git her bunnit off. 
Jist 'cause it came from Boston. Oh, yes, she's wonder- 
ful sot up. 

(Hattie heard outside.) 

Toner, (looking off l. i e.) Sh ! — She's comin'. 

(Enter Hattie, handsomely and stylishly dressed, l. i e.) 

Hattie. (l. and l. c.) Why, how do you do, every- 
body ? 



80 THE VILLAGE POSTMASTER 

(All come about her, and shake hands, greeting her — 
" Howdy- do, Hattie," "Glad to see you," etc. 
Hattie drops purse down c.) 

Letitia. (r. c.) Howdy-do, Mis' Trombley. (kisses 
her) Real glad to see ye. 

Hattie. I want to help decorate for Miranda's 
wedding, bless her heart. Won't she be a lovely bride? 
And how pretty you're making it. It's a new thing 
for Bridgewater to have a wedding in the evening, isn't 
it? 

Letitia. {proudly) Wal, Bridgewater's a-comin' 
along an' a-keepin' up with the percession. Ye needn't 
be surprised at ennything in this town now. (gives 
Toner a significant look) 

Hattie. But, you know, coming from a quiet little 
out-of-the-way place like Boston, I can't help being a 
trifle dazed with the noise and bustle of this place. 

Letitia. Law ! I thought Boston was considerable 
o' a town. 

Hattie. Well, it's trying to be. (All look sur- 
prised) 

Toner. Guess that's what you call sarcasm — (pro- 
nounces it sat chasm) ain't it, Mis' Trombley? 

Hattie. (with mock seriousness) Why, you couldn't 
suspect me of that ? 

Eben. (disgustedly) Oh, Lord ! 

(Exit, R. I E.) 

Hattie. (Toner looks alarmed. She laughs heart- 
ily at his frightened face) Don't worry ; I'll forgive you. 
(suddenly) I've a message from aunty to Mrs. Blake, 
but I'll be back to the wedding. 

(Exit, l. i e.) 

(Sunset fades out. Lights down.) 

Letitia. (a, looking off after Hattie) Gittin' too 
stuck up fer ennything, ain't she ? But I'm going 
around there to-morrow, an' see if I can't git a pattern 



THE VILLAGE POSTMASTER 81 

of that sleeve of hern. Say, girls, Mis' Merrit's goin 1 
to wear that green dress made over this time with brown. 
{puts wreath on pew R.) 

Jim. Well, I guess thet'll last to the day o' judgment, 
an' she'll have to git wings to match. 

{Laughter and bus.) 

Toner. Ef it don't scare Gabriel so he can't toot. 
Letitia. Silas Toner ! Wal, come, girls. Eb'll be 
after us. 

{The lights are lowered again, and it is almost dark in 
the church.) 

Girls. Thet's so. 

{They all troop out l. i e., followed by Letitia and 
Toner. He goes last, with a very small derby hat 
on his head. Call of a night-bird outside.) 

{Enter Mary, r. i e. Pauses with a look and gesture 
of distress as she sees the floral wedding bell hang- 
ing up c. She goes into pew l. of middle aisle, 
and kneeling, takes up Bible from bench and opens 
it. Enter John r. i e. He comes slowly to mid- 
dle aisle, pausing when he gets there. Mary, hear- 
ing him, rises, and turning suddenly confronts him. 
He starts.) 

John, {surprised) Mary. 

Mary, {also surprised) Mr. Harper ! Why, when 
did you come ? 

John. This evening. 

Mary, {advancing) An' it is you, sure ? 

John. It is I. No ghost, I assure you. But are you 
looking for one that you sit here all alone ? 

Mary, {down l. c.) No, I ain't lookin' for ghosts. 
I'm lookin' for myself; an' I never seem to find it 
'cept when I git away from work an' folks. So I come 
here when it's open for choir practice. An' when it's 
kinder dark, an' the music plays soft, it seems as if 
things were borne in on me that never come out in the 



82 THE VILLAGE POSTMASTER 

light an' the noise. It's somethin' like the Comforter 
that this tells about, {indicating Bible in her hand) 

John, (with feeling) I beg your pardon for intrud- 
ing. I'll go. (starts to cross to r. c.) 

Mary. No, no, please don't, (crosses to c.) There's 
somethin' I want to say to you. I didn't know as I'd 
ever get the chance, you've been away so long. 
' John. Yes, it's almost a year. 

Mary. They say you've done amazin' well down in 
the city. 

John. Yes, I've done far better than I expected in 
so short a time. But where have you been all these 
months ? 

Mary. In Concord. 

John, (amazed and puzzled) In Concord? 

Mary. Yes. They said I was in a madhouse, didn't 
they? 

John. Yes. 

Mary, (bitterly spoken) The very children run 
from me in the road. No one will believe me when 
I tell them it is a lie. But you don't think so, Mr. 
Harper — you don't think so? 

John. No, Mary, if you tell me you were not. But 
oh, if I only could have known where you were. I tried 
so hard to find you. 

Mary. To find me ? 

John. Yes, you could have set something right then 
— something I would have given my life to have had set 
right. 

Mary. Can't I do it now ? 

John. It doesn't matter now. 

Mary. I s'pose you know who's goin' to be married 
here to-night, (puts Bible on bench R. C.) 

John. Yes. 

Mary. It's about that I wanted to speak to you. 

John, (pained) Please don't, Mary. Your in- 
tention is kind — I know that — but I can't quite bear 
it yet. It's only one case more of a man's blind infat- 
uation for a woman, whose affection — if she ever had 
any — was so shallow she forgot him the moment he 



THE VILLAGE POSTMASTER 83 

was out of her sight. But I don't mean it shall wreck 
my life. I shall give my whole energies to my work. 
It's not so deep a problem as marriage — and it's more 
.satisfying in the solution. 

Mary, {looking keenly at him) John Harper, I 
don't know whether you mean what you say, or whether 
you're trying to cover up somethin' with words. But I 
tell you if Mirandy Huggins dies, her death lies at your 
door, {with great intensity) 

John. What do you mean ? 

Mary. I mean this : thet she's a-growin' that white 
and thin, she ain't more'n a shadow of what she used to 
be. She's breakin' her heart for you — (John smiles 
cynically) an' you stand there calm and quiet, an' smile 
over it. The time'll come when you'll see what you've 
done, an' it'll haunt ye worse'n those ghosts you talked 
about. Places o' torment ain't all laid up for the next 
world, (taking stage l.) 

John, (following her) You don't know what you're 
saying. You think she cares for me — so did I. I wrote 
and wrote and never a word came back. (Mary looks 
surprised) Then I heard she was engaged to Ben 
Deane — I knew then why she didn't write. 

Mary, (facing him) John Harper, are you telling 
the truth ? 

John. I am. 

Mary. Then I tell you there's devil's work some- 
where. She did write you. (John starts) And she 
never got any answer. / know what I'm sayin' — I've 
seen things since I came back. Mr. Huggins was sick 
quite a spell just after you left an' Ben Deane was takin' 
charge of the post-office, an' I know what I'm talkin' 
about when I tell you she kept on believin' in ye day 
after day, till it seemed sure you'd forgot her, an' she's 
marryin' this man 'cause her father wants it, and she's 
breakin' her heart and dyin' for you. 

John, (in an agonized tone) Mary ! my God ! 
(sinks on bench r. c.) 

Mary, (taking stage l.) You'll see it when it's too 
late. If you'd only stayed here. 



84 THE VILLAGE POSTMASTER 

John. If I only had. But I wanted to be about my 
life-work — and what is it all worth with an empty heart, 
and a life with the sweetness and peace gone out of it for- 
ever? What is it worth? (rises, takes stage r. and 
R. C.) 

Mary, {bitterly) Thet's what /say, and I know — 
yes, /know. 

John, (starting toward her) If this is true — and she 
suffers — as I have — no {away again), no, I can't have 
it so. 

Mary. It is true. 

John, {suddenly) But the letters — you say Ben 
Deane was in the post-office — then he took them, {to 
Mary) 

Mary. I didn't say so. (goes slightly l.) 

John, (c.) Oh, he's none too good for it. I believe 
he meant to push me into the machine that day. 

Mary, (turns quickly as if hearing footsteps off r. 
ie.) Hush, some one is coming. I beg of you to go. 
(he hesitates) Go, go, I beg of you. (John exits quickly 
L. i E., Mary looking after and slightly following him) 
What will he do? No, no, he won't stop it — it must go 
on — his weddin' and hers. Does heaven know anything 
about such matches ez thet ? If they do, it must make 
the angels sorry, (solemnly) The Lord forgive 'em both 
an' — (looking up with clasped hands) help me to bear it 
— help me to bear it. 

(Exit L. I E.) 

(Enter Huggins and Eben., r. i e. Huggins looks 
rather more careworn and less rugged than before.) 

Huggins. (c.) Wal, Eb, how ye gettin' on for 
lights? Did ye git them extra ones? (up and about 
aisles and around stage) 

Eben. (r. c.) Yes, siree, an* we've got three can- 
dles instid o' two in every one o' them places, (pointing 
to brackets) Oh, we'll have a 'lumination thet'll make 
the town talk, I tell you. (crosses l. c. Sees purse and 
picks it up) 



THE VILLAGE POSTMASTER 85 

Huggins. Thet's right, Eb. I want suthin' that 
ain't ever been seen in Bridgewater afore. Thet's why 
I had the weddin' in the even in', (sits on bench R. c.) 

Eben. Thet ain't been done here afore. 

Huggins. No. And I thought if the meetin' house 
wuz all trimmed and lit up 'twould be suthin' they 
wouldn't forgit very soon. My girl's goin' to be mar- 
ried and I want folks to know 'tain't no common doin's; 
it's suthin' to be remembered. Deane's the best match 
in town, too; got more brains'n some hull families. 
Thet feller'll go to the legislater yit, see if he don't— 
thet is, o' course, arter me. 

Eben. Yes, sir, arter you. 

Huggins. Lost it last time, but it's a-lookin' purty 
well for me jest now. Guess I'll go up next time sure. 

Eben. (aside) Seems to me he went up last time, 
sure. 

Huggins. And say, Eb, I want thet bell rung, so's 
folks'll know this is M'randy Huggins' weddin'. Might 
as well start in on thet now. Goin' to hev a weddin' 
march, too. Mis' Trombley sez they alius do thet to big 
weddin's in the city. 

(Enter Hattie, apparently searching for something, 

L. I E.) 

Hattie. Oh, Mr. Todd, did you find a purse ? 

Eben. Yes ; jest picked it up. (hands it to her) 

Hattie. That's it. Thank you. 

Eben. You're quite welcome. 

Hattie. Mr. Huggins, pardon me. I didn't see you. 
(as Eben. goes off Hattie sees Huggins for the first 
time, Eben. having intercepted the view. Exit Eben., r. 
2 e., into belfry) I just met John Harper. Did you 
hear how splendidly he's been doing in Boston? 

(Ready bell, R.) 

Huggins. No. Haven't cared to. 
Hattie. (l. c.) Well, it's wonderful. He'll be a 
rich man in a little while. 
Huggins. S'pose you'll be around to the weddin' ? 



86 THE VILLAGE POSTMASTER 

Hattie. Yes. And what a pretty wedding it's going 
to be. 

Huggins. Wal, I callate it's goin' ahead of enny thing 
we've hed in Bridgewater in one while. We're goin' to 
hev three candles in every one o' them places, (rising 
— pointing) We ain't a-stoppin' for expenses this trip. 
(Bell begins to toll in a slow, doleful manner. Huggins 
starts up angrily and going to r. 2 e., opens door to 
belfry and shouts up to Eben.) Ebenezer Todd, what 
be you a-doin' ? Is this a funeral ? Jest see if ye can't 
jerk thet bell a little lively, an' make it seem sort o' festive 
like, (bell begins to ring merrily) There, thet's some 
like it, Mis' Trombley. (sits again) 

Hattie. Yes, that's better. I only wish Miranda 
didn't look so poorly. I was shocked at the change in her. 

Huggins. Do you think she looks bad ? 

Hattie. Yes, I do. What is the matter with her ? 

Huggins. Matter with her ? Why, there ain't nothin' 
the matter with her — nothin' 'tall. 

Hattie. Yes, there is, Mr. Huggins, an' there's 
more than me asking what's the matter with Miranda. 

Huggins. (irritated) Wal, they'd better look to 
home, instead o' pokin' their noses into things that don't 
concern 'em. There ain't nothin' the matter with 
Miranda as /know on. 

Hattie. I tell you there is. You can't look at her 
growing paler an' thinner every day an' say that. 

Huggins. She's been workin' too stiddy on her wed- 
din' finery, that's all. 

Hattie. (over to him) No, it ain't all, an' if people 
around here are afraid to tell you the truth, I'm not. 

Huggins. What do you mean ? 

Hattie. (indignantly — though with great feeling) I 
mean you're a-marryin' her to a man she don't care for, 
an' she's weariiV her heart out for another. You're 
a-drivin' her into the grave. An' when ye can look out 
there — ( pointing out of window . Huggins rises, dazed) 
and see her headstone thet' 11 be no whiter' n her face is 
now, mebbe you'll see plainer'n other folks writ on it : 
" Died of a broken heart." (goes l. c.) 



THE VILLAGE POSTMASTER 87 

Huggins. Stop ! Stop ! I tell ye. How dare ye 
talk that way to me ? (sits down again as if broken and 
weak) 

Hattie. (very indignantly and angrily) Because 
it's true, and if Miranda hed half my spirit you'd a-heard 
it from her own lips long ago. When I saw her, I jest 
couldn't stand it, an' I came here on purpose to tell you, 
Seth Huggins, if you weren't harder than stone, you'd 
stop now afore you'd let your ambition drive ye over the 
dead body of your own child. 

(Exit L. I E.) 

Huggins. (breaking out angrily) It ain't true. No, 
it ain't true. It's a lie. (pause) Why do they say it ? 
(pause) Oh, if it should be so ! (rising) What's 
goin' to the legislater, what's ennything without her ? I 
don't want nothin' without my little girl, (staggers 
weakly back, sinks into pew up l., three seats from back 
— burying face in hands and sobbing) 

(Enter Eben., r. i e.) 

Eben. (does not see Huggins. Takes out watch 
and looks. Enter Deane l. i e., crosses to c.) Why, 
Mr. Deane, you're early, (anxiously) Others ain't 
come, hev they ? 

Deane. No, I came on ahead. Got things all fixed 
up, ain't ye ? 

Eben. Wal, I callate there ain't nothin' slow about 
me; guess I'd better ring a little, bein' there's time. 

(Exit R. 2. E.) 

(Enter Mary, l. i e.) 

Deane. (starts r., then turns and sees Mary) 
Mary ! You here ! 

(Bell rings off r. u. e.) 

Mary. I saw you coming here and followed you. 
I got somethin' to say to ye. I ain't had a chance to 
before. 



88 THE VILLAGE POSTMASTER 

Deane. Some other time, (starts toward l. i E.) 
Mary, (a, firmly spoken) No, there won't be no 
other time. Ef ye go out o' here I'll follow you. (he 
turns back) Ye've got to listen, (slight pause) 

(Huggins, aroused by her voice, unseen by them, 
listens.) 

Deane. (angrily — after slight pause) How dare 
you come here ? 

Mary, (defiantly) How dare you come here? 
How dare you swear in the sanctuary to love and 
cherish thet girl when ye know ye' re killin' her ? You 
hev ruined my life; ain't thet enough without ruinin' 
hers? 

Deane. I won't listen to you (starts to go ; she 

stops him) 

Mary. You will listen to me. Ye've got to hear 
me out. Ye know all ye care for Mirandy Huggins 
is her money. An' ye know she don't care fer you. 
Ye know her father is a-forcin' her into this 'cause 
he wants your help for the nomination. You know 
who she does care for; an' ef ye hed enny heart or 
soul, 'cept what's turned to greed fer gold, ye couldn't 
doit. 

(Enter John r., goes up, and remains unobserved t 
listening.) 

Deane. What do you mean by her caring for some 
one else ? 

Mary. Ye know it's John Harper — that it's alius 
been him. Didn't she kerry letters to the post to him 
after he went away, an' you was takin' Mr. Huggins' 
place in the office? Mebbe her letters never went, 
mebbe his got no further than that office — an' mebbe 
you know why. (meaningly over his shoulder) 

Deane. That's a lie. 

Mary, (very decidedly — hand raised) It is the 
truth. 

Deane. You have no proofs. 

Mary, (staggered at this and realizing its truth) 



THE VILLAGE POSTMASTER 89 

No, I ain't no proof. But I'm jest as sure as if I 
had. 

Deane. I suppose you've told. 
. Mary. No, I promised you not to speak. Mebbe 
I've lost what some folks call honor ; but I've thet 
kind left thet ud stand bein' burnt at a slow fire 'fore 
it would break the faith it had sworn to keep. You 
don't know what thet means. 

Deane. {angrily) Now you go. {crosses to R. c. 
and R.) 

Mary, (c.) No ! Not till ye've heard what I've 
got to say. S'pose I tell how you took me down to 
Concord, promisin' to marry me next day. Thet ye 
never kept yer word, but lied to me as ye alius do. 
S'pose I tell how I starved, an' was sick for months 
on the charity of the town, and when at last I was 
able to work, I toiled night an' day that I might save 
enough to get back here to tell 'em what you are. 

Deane. {sneeringly) They wouldn't believe you. 
They think you're crazy. 

Mary. Another of your lies. 

Deane. They all believe it. Ye'd better keep still. 
I shall marry her. {turns away) 

Mary. Then may God be as pitiless to you as you 
have been to me and to her ; and when ye cry to Him 
for mercy, may He turn from ye forever, as you have 
turned from me. 



{Exit, L. IE.) 



John, {confronting Deane) You scoundrel ! 

Deane. So you've been listening, like the sneak that 
you are. 

John. Where are those letters ? 

Deane. You'd better not talk too much about what 
you can't prove. It might cost you dear. 

John. I'll make it cost you dear. Are you going to 
listen to that poor girl you've wronged, and give up this 
marriage ? 

Deane. I'll tell you right now that in less than half 
an hour M' randy Huggins will be my wife. 



90 THE VILLAGE POSTMASTER 

John. Your wife by fraud and treachery. 

Deane. Well, you and Mary Barden will do to go 
together with your meanness an' jealousy. But I warn 
ye now if ye attempt to make any trouble here, ye'll 
wish ye hadn't. Ye know the old man would see his 
girl dead 'fore he'd give her to you; and M'randy's 
too proud to take up with a man thet's cast her off. 
I'll marry Mirandy Huggins, an' ye can't prevent me. 

(Huggins rises in his seat.) 

John, (springing on him) You sneaking coward 1 
I'll 

Huggins. Hold on there ! I've got somethin' to 
say — jest about now. (John drops his hands. Hug- 
gins comes down c.) Ben Deane, is this here true? Is 
that girl lyin' or not ? 

Deane. Lyin' Of course she is. She's crazy 

anyhow, you ought to know that. 

Huggins. But ye stood there and took it like a man 
that was guilty — ye never said no to it — ye never once 
denied it. Am I givin' my girl to a coward and a rascal 
— speak up, man — why don't ye speak? 

Deane. She lied, I tell you. She's nothin' to me. 

{People heard talking outside L.) 

Huggins. {imploringly) Then prove it to me if ye 
ken. Folks'll be here in a minute, an' it'll be too late. 
Prove it to me, Ben. 

Deane. Hain't ye known me long enough to believe 
me before ye would her? Did ye ever hev cause to 
suspicion me ? 

Huggins. I dunno's I ever did, but I hev now. My 
girl's future is in your hands and I've got to know the 
truth. D'ye hear me ? — the truth. {Enter Jim, L. i E., 
who goes up aisle L. , crosses over and lights candles R. ; 
lights up. Organist follows him and takes place at 
organ) It's too late now. {sits down r. c. John 
down r. Deane against pew L. c.) 

{Enter Eben. l. i e. with lantern, speaking as he comes 



THE VILLAGE POSTMASTER 91 

on and followed by Mr. Gibbs who goes up center 
aisle and mounts the pulpit.} 

• Eben. All right, Mr. Gibbs. 

{Enter Mrs. Gibbs and Caleb. Also two couples of 
villagers, who go up c. and take seats r. and l. 
nearest the pulpit.) 

Mrs. Gibbs. (l. c.) Wal, Mr. Todd, I suppose the 
next one will be you and Samanthy. 

Eben. I hope so, Mis' Gibbs — but I can't tell. 
Samanthy's such a caretaker she never gits time to 
think about it. An' sometimes I git real tuckered out 
a-waitin' ! — I do so. 

Mrs. Gibbs. Wal, ye want to keep up a good heart. 
She'll come around to it after a spell. (Eben. crosses 
and lights candles l. Mrs. Gibbs, aside) Poor Eb ! 

{Organist begins to play wedding march. Mrs. Gibbs 
and Caleb go up c. and take first vacant seat from 
pulpit y r. Enter l. i e. Letitia and Toner, who 
forgets to remove his hat until he is reminded by 
Letitia, when he jerks it off quickly. They go into 
pew next to Mrs. Gibbs and Caleb. Hattie fol- 
lows and sits up l. Next comes Samantha with 
Tom in tow, hanging back. When they get c, Tom 
stumbles and flounders down r. Samantha jerks 
him up, fixes his necktie, etc. Meanwhile Louisa 
enters and walks briskly up c, swinging her skirts 
as she goes, and enters pew next to Hattie, l. 
Tom goes into same pew and Samantha goes in 
with Toner and Letitia, r. Enter bridesmaids 
in couples. Eben. meets them c. and ushers them 
up on either side of the pulpit, returning and stand- 
ing in aisle next to Samantha. Miranda comes on 
after bridesmaids are in place; she is pale and walks 
slowly. Huggins rises, looking at her in great dis- 
tress. Deane takes a step toward her.} 

John, {crossing c.) Stop ! 



92 THE VILLAGE POSTMASTER 

(All turn and look. Organ stops. Enter Mary and 
stands down l. against first pew. As Miranda 
sees John, she drops her flowers , and reels. Deane 
catches her.) 

Miranda. John ! 

John, (to Huggins) You wouldn't let me speak 
to her at the house. I want to speak to her now. 
Miranda, tell me, did you write to me ? Did you mean 
to keep faith with me ? 

Miranda, (crossing to John) How can you ask, 
when you were the first to break faith ? 
John. I ? Why, I wrote you every day. 
Miranda. Every day? Oh, John, are you telling 
me true ? 

John. As God hears me. 

Miranda. I never had one word. Didn't my letters 
tell you so ? 

John. Your letters? I never got any letters from 
you. 

Miranda, (looking at Deane, who avoids her glance) 
What does it mean ? I wrote you so many. 

John, (to Deane) Where are those letters ? Cow- 
ard ! Sneak ! Answer me ! 

Deane. (crossing to John. Miranda l.) How dare 
you come in here and interrupt this ceremony ? Stand 
aside. Come, Mirandy; don't listen to him. 

Miranda, (recoiling from him and crossing quickly 
to her father) Oh, no, no, father; I can't marry that 
man. I've tried to think I could, but I can't. To stand 
up there and say those words, carin' heart and soul for 
another, would be a lie, and I can't do it, father, I can't 
do it. (sinks down sobbing at his feet, and catches at 
his hands) 

Huggins. (raising her — much overcome) There, 
Miranda, don't cry. I never knowed you did keer so 
much, (caressing her, laying his head down on hers) 
There, there, I ain't goin' to force you into anything to 
make you feel like that, 'cause you're my little girl arter 
all. (Deane starts toward him. Mary takes a step 



THE VILLAGE POSTMASTER 93 

down stage) You stand aside, sir. I won't let ye speak 
to her. You ain't to be trusted. (Deane falls back. 
Huggins sees Mary) Mary Barden, what's John Harper 
•to you ? 

Mary, {surprised) John Harper? Nothin'. (Jo 
Deane, as he crosses toward her) So you've been lyin' 
about him too, have ye ? 

(Deane looks deliberately around and exits L. i E. All 
watch him off, then Huggins speaks.) 

Huggins. How that man has deceived me. And I 

thought he was so straightforward and honest, too 

{looking affectionately at Miranda, who has gone slightly 
r.) And she's been sich a good little girl to me. God 
bless her. (kisses her forehead. Momentary pause) 
John, you love her and you want to take care of her, 
don't you? 

John. Yes, sir, I do. 

Huggins. Then take her with my blessin'. (calls) 
Elder Gibbs ! (motions to John and Miranda to go to 
pulpit) 



CURTAIN 

(At second curtain Huggins is down l. with Mary, 
gently leading her back to his pew.) 



MAR 29 1912 



HBRRRY OF CONGRESS 

m 

012 076 087 7 



LIBRARY OF CONGRESS 




012 076 087 7 £ 



